Omaha daily bee., 1909-08-22
MISS TEMPEST'S PHILOSOPHY
A Dressing Room Chat with "Pene-
lope" in London.
GLAD SHE IS COMING TO AMERICA
Definition Of Happiness-why h
Changed from the Operate 20 the
Dramatic staRe-Ameriean
Plays Abroad

II INNS ~ A-AAN
man, is the headquarters in London Of the
peculiarly frothy and piquant plays with
which the names OF certain popular play
wrights and player folk are intimately as
ISOLATED in the public mind. Appropriately
enough. little touches OF comedy are ex-
pericnced as soon az you step inside the
carefully guarded entrance and in the
doorkeeper's sanctum exchange with him
views on the weather and the political sit
uation.
He speaks OF Mr.. Frohman as The
To and Fro Man" and expresses sur
prise that with airships so easy OF access
as he has heard they are the energetic
manager does not eliminate the slow go
ing four days steamer. lie holds alott a
warning finger. "E's apt to open the door
at any moment" and bustles about with
a showing OF youthful vigor to see that
the picture of sir Henry, without which
no stage office Is complete. Is rightly huns
and that the pipe Of the gas stove does
not drop too often from its aperture. lie
has also, as a treasure shown only TO the
elect. a snapshot Of The To and Fro
Man" and chuckles that "'H got him.
although e don't like to be took' you
know"
further pleasantries along this lire were
interrupted ny AHN ~ VI VIZ
small boy whose elaborate uniform marks
him Of the messenger class. His feet are
big enough to serve 8 o'clock tea on. and
his tiny button of a cap, about the size of
a bath bun, sits nonchalantly on the tip
of his ear.
In Mr.. sRnctum.
You know perfectly well that it is not
polite to ask personal questions, but Miss
Marie Tempest, with whom you have an
engagement, has not arrived and you
can't look at Mr.. Frohman' picture for
ever. So you lapse. You certainly lapse.
You must interview somebody, for the
interviewing habit once fixed is not to be
eradicated, and there is an affinity of pur-
pose between you and Messenger, for he
too is waiting for Miss Tempest.
Would you mind telling" you inquire
blandly, why you wear your cap SO far-er
on your head?'
Messenger stands rooted to the spot.
1t is easy TO root him, for his feet once
placed are not easily uplifted.
Il wonder why l do" he answers re-
flectively, with the manner Of a Chester
field in spite of his size and costume, and
you feel that you should not take advan-
tage OF him in this way, without informing
hin OF your purpose; but it is too late to
retreat.
d you know, madam, I never really
gave the subject serious thought before. >
You begin to be nervous under his pene-
trating eye. Il shall make It my business,
however, to devote my attention to the
subject you have suggested"
You murmur something about it's not
being OF paramount Importance, but
Messenger, the subject having been
hrna,k.d 90 ,At c,g,r a. l.. 49,, IA -.
easily.
"Of course It is important, madam, il
you are concerned about 1t. Why do 1
wear my cap 30 far on my carr" His Anglo
Saxon is Johnsonian.
sparrInE with the Messenger,
You correct him. You didn't mention ear,
you said head.
"Oh my head" he corrects. Possibly our
friend can tell US You have learned your
London well enough to be feeling in your
pocket by this .time, and the doorkeeper's
suggestion that It may be as a matter Of
balance does not disturb your search. Mes
senger is apparently oblivlous Of it.
Balance is exactly the word 1 wanted.
That is why 1 wear 1t as l do, madam. 1t
is merely, I assure you, a matter Of bal
ance; perhaps We might go further and at
tribute It to the force Of, well, say action.
" ANoN oNNA soAAoAaNlbAg
You hand him a sixpence and feel that
he has the best of you in every way, while
he plaCes heels together, gives you a mil
itary salute and goes whistling down the
Comedy corridor, just as Miss Tempest's
motor car drives up.
1t Is six years now since she played to
an American audience, but she does not
look a day older. and having seen her in
her present success, the popular Penelope, u
you are forced to a conclusion reached
long ago that she acts with more telling
effect on the near side of the footllghts
than beyond them. There is q variety Of ex,
preston on the mobile face, and certain
nuances OF manner which are too delicately
artistic to carry long distances. 1t is like
looking at a Meissonier hung above the
line. AS she darts here and there in the
big dressing room, giving directions TO her
two maids, answering your questions, stop,
ping suddenly to laugh at some thought OF
word you are rather sorry that the aud.
fence gathering In the auditorium cannot
enjoy the scene.
she speaks first Of the big dressing room
with It's cretonne covered easy chairs. IL.
mahogany wardrobes, it's generous light
ing and OF makeup arrangements. You hav,
compared It to its advantage with some OF
the rooms dedicated to like purposes, where
WIN s''lSvS room TOT Two ana the maid
you have interviewed celebrities in New
York playhouses.
Tired of Dear Old LOndon.
You don't really like it," she repeats
erisply. Il think It's an awful hole. but
then you haven't lived In Il four years.
and I have; that makes a difference. I'm
50 tied by the leg here that l feel as II !
might just as well bring my bed and stay,
What's the use, I've said, OF going back
and forth2 You know OF course how you
set 70 hate a place where YOU stay and
stay and stay. not that you really hate II,
but Just the thought of il and the
monotony-anythins but monotony for me
That's the reason ! am so perfectly de-
lighted with the idea OF going 20 America