The St. Louis Republic. [volume] (St. Louis, Mo.) 1888-1919, 1904-10-23

likeness of Miss Maude Aoams in the
Empire 'Theater. He paints almost as
well as he acts. Athletics is one Of his
hobbies. and for several years he was the
champion amateur boxer of the Pacific
Coast.
Mr.. Short has just completed his book
ings for the Olympic and Century thea
tiers. The seasons offerings are about
evenly distributed between these play
houses. The attractions to come to the
Olympic after 'Ben-Hur' are: Viola Allen
In "A Winters Tale" Mrs. Gilbert in
Grandma" Eleanor Robson in Merely
Mary Ann 1.-The Girl From Kay's,"
Francis Wilson. Raymond Hitchcock in
THE Yankee Consul" Edna May in THE
School Girl" the Rogers Brothers, a
Adams, John Drew in The Duke of KILL
orankie." Annie Russell. E. H. Sothern
and Julia Marlows. William H. Crane in
Business Is Business" William Gillette,
Cecilia Lotus in THE Serio-Comic Gov
erress," Richard Mansfield in repertoire.
Nine. Rejane. and Lulu Chaser.
Coming to the Century are: n. c. Good
win In The Usurper." D~ockstader's Min
strels. 1.-THE Two Orphans" with an all
star cast; Babe in Tcyland," THE Eter-
nal City, 1.-The Red Feather" Mrs. Pat
rick Campbell. "Pir. Par.. Pouf." Nine.
Schumann-Heink In Loves Lottery"
Kyrle Below. Bertha GaIland, De Wolf
Hopper In a revival Of wang Check
ers." THE Silver Slipper" James K.
Hsckett. 1.-The Secret Of Polichinelle,"
1.-THE Other Girl 1.-THE Prince of Pilsen."
Lawrence D'Orsay in 1.-The Earl Of Paw
tucket." The virginian." Robert Edeson.
William Collier in 'The Dictator" Ezra
Kendall in "Weatherbeaten Benson"
Beauty is only a fifth wheel for a pro-
fessional career" declares Maxine Ell
lott. '1t is OF no help to a woman at
the beginning Of her career. and It is
often q positive hindrance to be a So
called stage beauty. 1t challenges atten-
ton. n mes poor beginnings as an ar
fist stand out all the more glowingly be-
cause Of the prominence one would SO
gladly escape during those first two or
three years.
''If the young actress has the other
things needful for success, and after
years Of work and waiting attains sue
cess, then good looks do not stand in her
way. They may even be a little help. But
at best beauty Is only a fifth wheel. You
have but to look at many Of the success
full women of the stage to prove this 1t
is in the chorus Of the extravaganza and
comic opera that you find the real pro-
fessional beauties They are the peers Of
any beauty in the world, but their beauty
alone without talent and determination
and work will never get them out OF the
chorus.
Attractive personality s. often men,
toned as a valuable asset. If 1t was simply
y -~7c-t,r, of = r-cti
made an actress, you could find LOO Of
49,. -- -- -
sUiiu,i.y o. the attractive order - simpiy
the power that forces your talent over the
footing hts. 1t doesn't make an actor, nor
an actress. 1t IL a very insignificant part
Of the whole thing. Mrs. Kendall once said
to a young CIR! VINO wanted to become an
tuition Of q horse. and the skin Of q rninoc-
eros
you must work and study and fail and
suffer disappointments and never say die.
and then. perhaps. II you're lucky, you'll
get there. No one ever knows how one
grows in art. 1 have seen much nonsense
printed about how one player was coached
W SNS OIS SuAA AS0SA
how to act"
Milward Adams. general manager of the
Chicago Auditorium. was so pleased with
the staging of ben Hur" in St. Louis that
he consummated a deal with the Klaw &
Erlanger, to transfer the spectacle as now
presented at the Olympic to HIS playhouse
at the end OF the engagement here.
s
In. confirmation OF the report that Nine.
Rejane viii probably remain In this coun-
try after her American tour under the d.
rectlon of George C. Tyler and will estab-
lish a dramatic conservatory similar to
the French Conservatory. the French
actress herself says: THE idea appeals
TO me immensely. The more 1 have turned
IL ever to N ae ny T abe of ies more l am IN
1T has been said that l am a de-
clared adversary OF c~onservatoire meth
DDS This Is not quite correct. As an In
national boom; But It requires modern
izing and modifying. To abolish It entire
ly would be a grave error.
Speaking generally, students Of the
with riches; indeed. many of them are in
very poor circumstances and nave no pri-
mary education to speak Of By following
fair knowledge OF the classics and a
polish, somewhat superficial perhaps,
which stands them In good stead Of the
refinement which the more fortunate Of
their colleagues win reveal. On many oc-
casions I have engaged artists who have
not been through the c~onservetoire classes,
but their ignorance has. in some cases,
been simply appalling. with the result that
1t has been q most ~ungrateful task and
sometimes an impossible one to at them
with parts.
at object most emphaticalIy to the uni
formity Of the methods of teaching which
still exists IN the Paris Conservatory.
Ask a dozen students to recite a trade
from Moliere and they all Will give you
an Identical rendering. You might be
listening to a phonograph. L term thai
the a~ntinatural system and one which
would certainly never have been tolerated
by Talma or N Of the great French
actors of the past"
The incidental music composed for the
average play, no matter how ~pretentious
It may be. is usually cast aside with the
properties and costumes when the piece
Is taken from the boards. Its very name.
incidental music" bespeaks its ephem-
nral quality. Those who have heard the
heic composed by William Furst for
Darling Of the Gods Will hardly
ct n similar fate ia; gtOra for Mr..