New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1902-09-21

reasoning was simple and direct. and 1T satisfied
him. In college he specialized. as most men
do. choosing those courses which bore on the
history of the drama, on Shakespeare and on
literature in general. He also took lessons in
elocution and lost opportunity to appear in
the performances Of the Cambridge Dramatic
Club. of which Professor G. P. Baker is the
moving spirit. But he did not neglect other
courses and was graduated in 1900 with very
much the equipment of the average studious
Harvard graduate.
After a year spent in a dramatic school in
New-York Mr.. Elliot found a place in one Of
Liebler's two Christian" companies, and played
understudy to the John Storm When the two
compan MES were merged last spring and E ].
Morgan left the organization. Elliot finished the
season in the leading role. and this year will
head the company.
Next summer he said. the other day, IT
hope to be with a stock company and perhaps
I shall remain for three years with such
a company, for there is no stage training
good OF course. like all actors, l wish to
appear in Broadway. but do not wish my ap
pearance to be for six years yet. If success is
worth while at all. it is worth waiting for.
Il have often been asked of what practical
good my course at Harvard has been. That
question used to be asked in the business world
far more than it is to-day. ] hope some time
there will be less need of asking 1t of actors
l only answer that a knowledge of the
dramatic literature of different countries and
of dramatic construction viewed from the crit
zeal standpoint Of a university; acquaintance
with the magnificent language of Shakespeare
both with its beauty and it's meaning; and
hnally bond of sympathy with other subjects
other modes of thought and other classes of men
than those ha bitual TO the stage-all these seem
TO me very practical good. OF course | have
forgotten much that was taught at college but
q broader and richer conception of the stage 7
nope L have retained, and a love for a mora
dlgnihed and exalted stage language. When
the chance to speak such language comes to me
j can only nope to be ready to meet II If 7
fail where men whose training was entirely IN
the stage succeed. it will be my own fault and
not that or my schooling. 1t seems to me no
actor who takes high view of his art and
who wishes seriously to portray life can have
too broad an education"
1t was word Of hope of hope based chieHy
on desire, that Miss Grace Van Studdiford The
soprano OF the Bostonians spoke the other dav
i believe" she said. that the future Of tba
comic opera as we have chiefly known It for
the last few years will be brief 1 believe that
better day is coming day that viii see the
public dissatisfied with comic opera that is NOT
musical. that is not well sung that is nothing
but a string Of variety acts RICH, here in
New-York YOU probably cannot see tbis"-and
Miss Van Studdiford's listeners admitted wo-
fuiiy that they could not-'but through the
country one can On Broadway second or
even third rate singer now make a hit In
comic opera II she will look demure and GET off
some gags on local managers and events around
the Tenderlofn. which one but TenderIo,n
enough of these frequenters in New-Yorx
TO keep opera after opera successful On
Broadway Broadway to-day is the easiest