Omaha daily bee., 1909-07-18

Out of q very long repertoire, which he
catalogues hastily, Guitry selects the role
Flambeau as one Of his special favorites.
'L'Aiglon' being among the many pro-
auctions In which for many years he and
Bernhard appeared together.
FavOrite Roles Absurd.
"I do not see how an actor" he con-
tinues, can say which Is his favorite role.
Each one as 1t unfolds its possibilities must
be that, for unless he throws his whole
self into it's portrayal and grasses from his
memory the thought OF other parts, how
can he do the best that is in him? The role
he is playing is his only role-there is no
other, there is no yesterday to the actor,
no tomorrow; in the moment he must live
by that power and that only can he hope
70 live in the memories of others.
But your question reminds me that 1
nave a distinct ambition. 1t is not to
become again an actor manage Like Ma
poleon, l had seven years of success, and
then 1 met my Waterloo. but unlike Ma
poleon, after my Waterloo l came to Eng
land. 1 did not retire from the public eye.
mo, 1t is simply so to present the role
Of "Chanticleer," that marvellous concep-
ton of Rostand's, that l may feel l have
acceptably carried on the work that Coque-
III = 10 a. ~ AAA~hS Wv
comprehend how a mise en- scene laid
in q barnyard with the denizens Of that
place for the characters can be anything
but a humorous production. but you will
see, you will seel There is grandeur. there
is dignity. there is seriousness-and beauty,
extreme beauty
Poem for All Ages.
TT is not a production especially for the
French people, filled with local illusions
and national subtilities. as some of the
reading public imagine. On the contrary
1t is a literary poem for all time and for
all ages, It does not depend on its action
but on the beauty of thought for its sue
cess. 1t is really an apotheosis OF the
sun, which shines for us all and will
continue to shine when we pass on. 1t is
the great fable of modern w~ritingsi"
Guitry snatches a pencil of makeup from
the dressing table and rapidly sketches the
man transformed into the Cock" OF the
barnyard. You see how simply 1t can be
done, the arms hidden, the comb and tail
added. that is all. When you notice the
lines OF the mans body, isn't is surprising
how they fit into the drawing Of the cock?
''Coquelin was so enamOred Of the part
that he went about reciting bits Of 1t
now and then to his friends. Once or twice
Rostand said to him: DO you not think
1t is a mistake to do that? Won't you
familiarize them too soon? Now we are
glad that he did, for we have those recol-
lections to help us.
He put years OF thought and reflection
and enthusiasm into its study. l predict a
great success for 1t in America, where 1t is
to be produced Immediately following the
English performance"
SHES at a Wreath.
Monsieur Lucien Guitry,' says a voice
at the door. and al attendant comes in
laden with an enormous wreath Of laurel,
with the compliments OF Martin Harvey,
who from a box has been a delighted wit
ness OF the play.
Guitry shrinks into his coat ana steps
as far away from the ~apparition as the
limits OF the dressing room will permit.
1T isn't for me2" he asks In a horror
stricken voice. Don't tell me IT'S for me?'
He is assured Of the dread truth Of his
Intuition.
1T Is kind Of Mr.. Harvey. isn't it2' he
asks in a still. small voice. but couldn't
IL be put somewhere so that l need not see
II and yet know 1t was there? l couldn't
stand Il to nave It about"
He Ia the shy Guluy Of the by streets.