Los Angeles herald., 1908-01-19
STAGE WIT AND HUMOR

Nat c. Goodwin is to be seen next
season in a new play by Booth Tarking-'
ton and Harry Leon Wilson, the authors
of THE Man from Home" which is to
be known as Cameo Kirby" Goodwin,
it may be remembered, renounced the
stage last spring and decided he would
build up a new life as a gold miner
Two months ago he returned east and
took it all back. Not that there wasn't
gold out there in that mine he had
bought.
II know there is, he announced, "for
L put 1t there myself"
Goodwin has definitely given up Shakes
peare, and there are not wanting those
who insist he was led to this decision
by Willie Collier. The two sat together
in the Lambs club in New York on the
Sunday before New Years.
NAT" said Collier, I'm tired of this
comedy business. I'm going to try
Shakespeare"
Good lad" said Goodwin. What char
acter? Bottom, Falstaff or what?'
NIX on the comedy" said Collier, "Im
for Shylock."
What rot" returned Goodwin. 'You
can't play Shylock, WILLIE
'Is that so?' demanded Collier, with
some heat I'm bet 1 can get as many
laughs out of him as you did,.
Kind friends dragged them into separate
rooms.
Alfred Sutro's play, John Glaydes
Honor" tragic as is its theme, has been
supplied by the playwright with much
philosophical srnartness. The drama has
been made known in the east by James
X. Hackett, who presented the same
authors walls of Jericho" 1t is a
somber play. with a tragic ending, but
~, de- Aoo
of wit, of which the following are ex-
ampes:
Its not enough for a man to give his
wife diamonds and clothes. She likes to
be told how she looks in them"
Glayde neglects his wife for his pusi-
ness, and to her somebody says:
do you know, L had quite forgotten
you had a husband"
well, I've sometimes had to pinch
myself to remember it, is the retort.
To a mature woman who desires to
warn him about his wife John Glayde
remarks suavely:
II never refuse advice from persons of
experience" She looks up abruptly and
says: "Um-I wonder how you mean
that?"
AS to the best lines in the play, the
one that reused the most laughter in
London is one that loses much of its
point in America. 1t was spoken by John
would be the heir of many of his mill
lions. She was assuring her uncle of the
utter absence of self-seeking in the man
who sought her hand. at isn't the
money, uncle" she said you mustn't
think it's the money. He doesn't care
about money-he's an oxford man."
Other good things are:
Trevor is a painter, you know. He
raves about your soul, but it's your face
he looks at"
women (the speaker is referring to the
chaff of drawing room conversation hate
nonsense almost as much as they do
politics."
"Irrelevance, dear Mrs. Rennick is the
fine flower of modern conversation"
To the artist bent on clipping with John
Glayde's wife another artist says, re-
calling the mournful issue of a similar
experience of his own:
when she wasn't making me tell her
that / loved her she was crying about
the fellow she had left"
To the typical laudator temporis acti,
now the vogue In London. this is said:
you are thoroughly modern, Mrs Rem
nick. You like only what is ancient"
Probably nc play In the history of the
American drama has been put together
under such circumstances as those at
tending Arnold Days new venture, MY
Mamie Rose the rehearsals of which
began In New York few days ago. The
play Is the dramatization of the life of
Owen Kildare, who with Mr.. Daily is
writing the new piece. Up to the age OF
81 Kildare, who has been known in New
York as "the Bowery Kipling," could
neither read nor write. He began life as
a newsboy, and graduated through all
the grades of tough, bouncer, prize
fighter and so forth, until woman, a
settlement worker in the slums of New
York. took an interest in him. From that
moment dates the story of his regenera
ton. Today he is eagerly sought by
magazine editors for contributions, and
has written three novels, world of
newspaper material anu over two hundred
short stories.
In Daly's dressing room at the Berke-
ley theaCer in New York the construction
of the drama has been taking place. To-
gether Kildare and Daily have worked il
out and to those who have been fortu-
nate enough to hear the conversation IL
has been treat. 1t runs something like
this:
Daly--Now, Kildare. we want some
choice bits Of color for Nifty Burleys
next speech
Kildare--WelI, he ought to say some
thing like this: "Dey was never no
chancet fer me. started wrong. I was
up agin it for fair. hit de RATHER
Wnen uey tossed me out III de cold. L
spun me dome fer gags to get de eats, an
I'm the dirtiest deuce in de deck. Blow,
cul. blow"
Daly-That's what we want Now fol-
low that line. Well get something out
of this yet.
The company that has been engaged
for the new play will be a remarkable
enc. 1t includes Holbrook Blinn, Crystal
Herne, Helen Ware, Mr.. DAILY himself
and a number of others. 1t win be seen
for the first time about February 8.
Florence Bindley, comedienne, was at
one time a witness in a case of street
robbery. She had seen a sneak thief
make off with girls pocketbook and had
consented to appear as witness for the
girl.
The thief's lawyer was of the kind that
roars and rants at witnesses. He tried
this method on Miss Bindley.
And at what hour, madam, did this
happen?' asked the lawyer.
II think" began Miss Bindey. when
the lawyer interrupted her, with:
1T isn't what you think. it's what you
know we wantr
Don't you want to know what think?'
mildly asked the girl
II do not.f' snapped the lawyer.
"Well, then" replied Miss Bindley Il
Lee ftsa No..