davidaulloa/AmericanStories huggingface dataset:
The San Francisco call. [volume] (San Francisco [Calif.]) 1895-1913, 1909-07-25

any original cast any more. So L say that
this is the New York production and that is
true. 1 can prove that this cast is better
than the company which originally played
the piece in New York and which immedi
ately began to be divided, shooting off stars
here and there over the country.
Il do not seek, to get sensational stories
into the papers, because an attraction to
win lasting approval must build its popu-
Iarity on the dignity that comes of the
merit it contains. One doesn't employ the
circus method of advertising when one wants
to exploit production of Madame Butter
fly. for instance. But, on the other hand,
when I have a fact that reflects the energy
and judgment of the promoter l make the
most of it. For example. I do not hide the
fact that John McGhie is one of the greatest
musical directors of this country bar none.
and 1 do not forget to say that the orchestra
backing the music of The Merry Widow is
the organization which season ago played
Puccini's wonderful measures in Madame
Butterfly
Mr.. Pollock's definition of press agent
as one who is employed 10 obtain free
advertising for any given thing is mislead-
ing and only half a truth. AS matter of
fact, there are few persons in prominent
life. from the president of the United States
down to congressman. who do not need
and employ the services of press agent.
whose business it is to supervise far
possible printed statements concerning his
principal to the end that he may not be
placed in a false light before the public.
He is an agent of truth, when he knows his
business and not an apostle of fabrication.
1T is a very honorable profession: it
brings one in contact with the brilliant men
of journalism and with the brightest minds
everywhere
u do not consider it any part of my bust
ness to tell a story about a chorus girl
losing diamond necklace. nor of another
beauty of the stage being bitten by her
lap dog.
MY experience is that it is better to take
the public into your confidence and to tell
the truth. keep away from the frontier
of exaggeration, because if the reality of
The San Francisco call. [volume] (San Francisco [Calif.]) 1895-1913, 1909-07-25

RVF FHEN the birds have flown you may
NJ count the broken eggs in the nest
w Now that the songsters of The
Merry Widow and the dancers and
the orchestra and John McGhie the musical
director, have departed and the Van Ness
harbors another attraction it may be profit
able to examine into the ways of handling
great productions and OF bringing business
10 bear upon art TO the end that much money
may be acquired at the box Office in exchange
for much enjoyment in the theater.
or ali the big attractions which have
made sheir bid for favor in San Francisco
'.The Merry Widow has made. so the man
aEement claims, with apparent justice the
Eremest record Of success.
Many viii remember the days Of the
American opera company. which played in
the sos At the Grand opera house. II bent
and broke OF its own weight. Not enough
people could get to hear it to pay the bills
OF expense. I think there were nearly 100
players and musicians. supers and assist
ants on the payroll of that organization.
its nnances withered in the face of the debit
side Of its account. Then there came David
Henderson with his spectacular productions
OF "Ali Baba." "Sinbad" Cinderella" and
other gmgeously animated fantasies. Sim
iIar fate awaited this enterprise of Hen
derson's. Booking arrangements then were
not what they now. The syndicate had
not then stretched its sometime protecting
and sometime compelling web around the
plsyhouses. and gaps in time ate Up the
profits that accrued during the working
nights and days Transportation bit large
hunks from the bank roll, and these big
presentations went the way of others.
THE Metropolitan opera company, another
great institution to arrive here for pur-.
poses OF operate entertainment and cul-
lure. was on a different plane and prospered.
The balance was on the right side, because
society in the boxes paid the bulk of the
bin. Ben Hur." the Klaw & Erlanger piece
made money. TOO. but this was because the
theatrical world had been organized, and
The business OF art was operated with the
rigidity Of a department store. Theaters
The San Francisco call. [volume] (San Francisco [Calif.]) 1895-1913, 1909-07-25
CALIFORNIA PLAY
AT THE AMERICAN
"Tennessee's Pardner" Prom
ised a Pretty Production
by Stock Company

The American theater stock COM
pany begins its second week this after
noon in Bret Harte's comedy drama,
"Tennessee's Pardner.p With Harriet
Worthington' in the title role. Tennes-
see Kent; Hersehel MayaIl as Caleb
Swan, James Corrigan as Gewilliker
Hay and Gerald Harcourt as Amos
Barlow, the regulars of the American
stock company should appear to ad-
vantage in the ever popular play.
Several newcomers viii be seen this
afternoon, all in important parts. Miss
Pauline Lord, formerly of the Good
win-Goodrich company, will play the
part of Nettie Bice (Kate Cornish) the
bride; Miss Lillian Elliott of Ye Lib
erty stock company win be seen in
the character role of Mrs. Hay; Will
liam r. Abrams as Tom Romano. the
brother; G. B. Baldwin as Asa Bice.
the pardner; Thurlow White as Spike.
the coroner, and Walter Barrett as
Phil Flush, a miner.
Next Sunday afternoon Charles
Swickards drama, at the Sound of
Taps will be presented with an aug
mented east.
The American theater stock company
has before it for early presentation a
likely lot of plays during its limited
enga cement.
The San Francisco call. [volume] (San Francisco [Calif.]) 1895-1913, 1909-07-25

the life of me how high that would be-he
tackled a play by John Luther Long. 1t was
''The Dragon Fly. The author of 'The
Darling of the Gods and MADAME Butter
fly" and ''Adrea" turned out failure in
THE Dragon Fly"
1T was one of those gorgeous artistic sue
cesses,' Gressitt told me once, which proved
a wreck in finance 1t was temperamentaIly
unfit to have bank account and it lasted
just three weeks. L produced it at the Car
rick theater in Philadelphia. and everybody
said it was great, but nobody went to see it,
1t faded in Philadelphia, withered in Ba1ti-
more and dropped and died in Washington
When it was all over 1 was as clean of
money as purse in dealers showcase.
And that's how 1 went to work as Saw
ages business manager"
For three years Gressitt has handled his
biggest attractions Madame Butterfly"
"The student King" and now 'TThe Merry
Widow" He has learned from the experience
which comes of an expenditure of $4,000
how to handle big show most expen-
sive training. but effective,
He has made IL transcontinental tours for
Savage. and each time has visited San Fran
cisco, where he is as well known in the
hotels and clubs as resident. When Mad
anne Butterfly opened at the Van Ness thea
ter he at the head of it, and 1t is
rumored that he will be in his dress suit in
front of the Columbia theater when that
playhouse. which Gottlob & Marx are build
ing, opens its doors down town.
n REssITT has some principles which he
applies to his work of advancing the
popularity of his employers shows which
are interesting.
"A press age.t should not be liar" is one
of them.
He should tell the truth about his produc-
ton"
THE whole truth?" 1 asked.
Not Necessarily" said he, but enough.
For instance. do not say that this COM
pany of which am manager is the original
New York company. 1t is not There isn't
The San Francisco call. [volume] (San Francisco [Calif.]) 1895-1913, 1909-07-25
FORMER ALCAzAR
ACTOR is HERE
Albert Morrison, Once Belasco
Juvenile Player, Is Visit
ing Relatives

Albert Morrison, who will be remem-
bered pleasantly by many Alcazar
patrons of six years ago, has returned
to San Francisco and is spending a
brief vacation with his father Charles
Morrison, and his mother, at 634 Clay
ton street
AS juvenile actor Morrison appeared
during season of about 80 weeks at
the Belasco house. and his work as
Horatio Drake in THE Christian" Cap
tain O'Hara in "Hedrtsease" and Ned
in Sowing the Wind" is stiI recalled
for its breezy quality and Astounding
spirit
Morrison comes here from his sum-
mer season at the Boyd theater, Omaha,
and at the conclusion of his resting
period of a couple of weeks he returns
to his work at the college theater in
Chicago, where last season and for
the coming season he has been and
viii be the leading man.
The College theater," says Morri-
son, lis called Americas handsomest
playhouse, and not without some rea
son. 1t is a beautiful theater and has
the distinction of being without ball
cony or gallery. An artistic dome adds
to the picturesqusness of the structure
and an unobstructed view of the stage
is to be had from every seat.
The theater was built by the fathers
of the De Pau university on the oppo-
site side of the street. The fathers con-
troll the playhouse and exercise their
authority to the end that no objection-
able or immoral plays are produced
here. 1t is the onis theater, 1 think.
being operated in America under such
beneficent influence"
After leaving the Alcazar where he
was associated with Ernest Hastings
and later with Whit- WhittIesev Nor
rison went to Halifax, N. S. as
leading man for the w. S. Harkins
stock company. The cast toured the
larger cities of the Canadian provinces.
and at the close of the season Morri-
son went to Omaha, where he opened
The San Francisco call. [volume] (San Francisco [Calif.]) 1895-1913, 1909-07-25
SNENGALI CHALLENGES
WITH ACT OF MYSTERY
Performer at PantagessEmpire
Plays With the Psychic

1t is expected that the original Sven
gall trio, which Manager Tiffany has
secured this week for the Pantages-
Empire theater will suffice to crowd
that popular playhouse in Suffer street
at every performance. The mysterious
Svengali trio" is as mysterious as the
name implies. and the unusualness of
the turn battles the analytical. Sven
gall, who appears to be a cultured
and courtly man of the world, repre-
sents that he hypnotizes Miss Terry,
handsome woman, and a young man
who. with the mesmerist. constitute
the trio. Svengali walks TN the audi
ence and asks for the names of opera
tic arias or the names of public per-
sonages. AS soon as the name of song
or person is whispered to him the re-
Spouse comes from the stage. where
Miss Terry plays the melody on a
piano, or the young man assumes the
character of the person whose name
has been given to the listening ear of
Svengali. The youth dives into a
cabinet pulls forth wigs and a makeup
and at once is in the character of the
person suggested; or Miss Terry at the
piano plays and sings with accurate
touch and voice the song which has
been called for. Svengali says he does
it by thought transference. The audi
ence is invited to suggest another ex-
PLANTATION of the mysterious intercourse
between the man in the audience and
his associates on the stage.
Mack and Elliott. in a comedy play
let; Farley and Clare. singers and
dancers; tho TOY Terriers. in a nov.
city act; Keith and De Mont in The
Garage Shop" and new and Interesting
motion pictures will complete the pro-
gram.
The San Francisco call. [volume] (San Francisco [Calif.]) 1895-1913, 1909-07-25
FITCH COMEDY IS
BILL AT ALCAzAR
"The Girl and the Judge" to
Be Attraction at the BelascO
Playhouse

The Girl and the Judge" one of the
finest of the Fitch comedies. is an
nounced as the AIcazar's Offering for
the coming week, commencing tomor-
row evening. 1t has been selected be-
cause of the success which it scored
when last presented py Belasco &.
Mayer. and because of the exceptional
opportunities it affords the members OF
the Alcazar company to appear at their
very best.
Bessie Barriscale is cast as "the girl''
and Thurlow Bergen as .the Judge.
The other favorites will have well Mt
ting roles, among the characters being
female kleptomaniac, a garrulous
boarding house keeper. funny clerk
and several other engaging types.
The action of the play takes place in
a town in one of the western states.
and the time is the present Mrs.
stanton, the kleptomaniac. has a
drunken husband and daughter Win
fired To the mother is awarded the
custody of the girl by Probate Judge
Chartris, young and talented jurist.
Taking a fancy to the girl he per
suades his mother to visit the Stanfons
in their humble apartments. and while
she is there a valuable diamond min
is stolen srOm her by Mrs stanton
who afterward pawns it. She is sus-
pected by her daughter. to whom size
finally c0nfesses, and when the girl
hastens to the pawnshop TO recover
the jewel and restore il to Mrs. C,har-
iris she finds that lady and her So
there in quest of the pin. which ~ /,
imagine has been stolen by one of ~,
apartment house servants. But WE
the pawn broker displays the bauble
and explains how 1t came To he 49,.
Mrs Chartris and the judge raaNze ~,
truth To save the girl from go
Mrs. Chartris discIaims ownerssi,, -
the pin. But the girl is places ~ -
unfavorable light before the hndSe
whose directions she mad begun to re-
situations ensue before the bannv 7 s,,,s
ms takes Rlace. ~ eHo-
The San Francisco call. [volume] (San Francisco [Calif.]) 1895-1913, 1909-07-25

the New Burwood theater. He re-
manned there for two seasons as lead
ing man. Then he went to Detroit
Mich, to open the Lafayette theater
and remained there for another season.
After spring and summer season in
Omaha again. Morrison went to Chicago
and is still retained there in the Col
lege theater as leading man. On leav-
ing Omaha the businessmen of that
city made him a present of a handsome
loving cup as a token of their esteem
for him as a man and of their admira-
ton for his art as an actor.
I am young man" says Morrison
but am beginning to persuade myself
that | have had enough of stock ex-
perience. The training is splendid and
the work is pleasant, but it does not
afford an actor the chance at that
will o. the wisp called fame, which
work in production gives. / have
had offeres from former managers to
put me on the road in comedy Event.
ually | expect to take up that line,
and see what kind Of star can
make of myself
The San Francisco call. [volume] (San Francisco [Calif.]) 1895-1913, 1909-07-25

and artistically pending the arrival of
the Shuberts with their trust worry
ing attractions? She did not know
She would see. She wanted TO know
whether there was a prejudice, Jour-
nalistically expressed, against her. If
so, she would not. Otherwise, she
would. So sire made inquiries. For
one thing, she called at this Office and
asked the writer if he had conceived
a prejudice against her.
Itwas a most embarrassing question.
Imagine conceiving prejudice against
a young and beautiful woman merely
because she was a poor boy on the
stage! The embarrassment was alto
gether on my side. She wanted to
know, that was all.
Try to look a pretty woman in the
face some time and tell her honestly
why you didn't like her in certain
role. SO the embarrassment was only
partially allayed by the vigorous de-
NAL entered against the assumption of
animus and a personal dislike.
So, say, Miss Worthington was sur
prised and didn't know just what TO
make of the sudden veering of the
critical weather vane when with a
unanimity as complete as in Peter
Pam" the printed estimates of her
work in The Duel" at the American
theater were as favorable as the others
had been unfavorable.
Gould an actress be so poor in one
The San Francisco call. [volume] (San Francisco [Calif.]) 1895-1913, 1909-07-25

~ Ut as the countess in The Duer'
X Miss Worthington has achieved a
big success.
The play has not made the impress
sion that it should have created part
". no doubt. because Of the unusual
ness OF the drama. The role or the
priest. which carries the player near
TO that verge where churchmen might
complain, is not happy part in which
to place an actor. and the other roles
suffer. for the unpopularfty OF the prin-
cipaI masculine character. Even otis
Skinner admitted this to me. and said
recently that he thought the lack OF
success which the play won through
out the east was due in large meas
ure. to the difficulty IN engaging sym
pathy for the principal male role. The
story is engrossing and real; the plot
is well handled Electrically, and the
dialogue which develops the interest
in the story is pure and fine, and fun
of meat. But
Wen. the play was not a great sue
cess even when skinner starred as the
priest; it had much less Of success
than many a poorer drama played by
many inferior companies
If 1 have wiped out the memory OF
Peter Pan. said Miss Worthington.
by my Characterization Of the role
of the countess, I am content, and
perhaps the recollection of the Valencia
engagement will be buried still deeper
if succeed, as 1 hope to, in Tonnes
sees Pardner'
The San Francisco call. [volume] (San Francisco [Calif.]) 1895-1913, 1909-07-25

lection grows with every additional
role in which one appears. They ae-
cept you for yourself. so to say. and
are indulgent and generous with such
faults as are inseparable from stock
performances. They Knoxville people
do-that one can not be uniformly
good in all roles, and they realize that
some characters will be found more
congeniaI than others If they do not
like you in this part they recall role
in which they did like you. and so
you are forgiven, and another play is
staged to your souls comfort.
But going to a strange audience
in strange place, and amid new sur
roundings. is vastly different. Per-
haps the first role you are handed is
as far away from you temperamentally
as the poles are apart. You are
judged by that performance. and you
are called a good or a bad player ac-
cordingly. Then imagine my predica-
ment when this role of Peter Pan that
1 was called upon. Sgainst my will,
to assume was the very part in which
VHS VI ti0 ilOsb unique dClEeSSeS III
the world had made aer biggest tri-
umph, and in which she had been seen
and applauded by the theater goers who
now sit in Judgment on my own eff
forts to set, at short notice. into the
temper and in sympathy with the char
actes."
We will all agree that the ways of
the leading lady in stock are not maths
of roses nor ways of ease.
The San Francisco call. [volume] (San Francisco [Calif.]) 1895-1913, 1909-07-25
CIRCUS GIRL WFDS
PIOUS CLERGYMAN
'POIIy of the Circus" at the
Van Ness Tells Pretty
Romance

Frederic Thompson's Polly Of the
Circus Will be produced tonight at the
Van Ness theater. The presentation of
Margaret Mayo's play is promised to
be elaborate and important. It is said
that Thompson, the creator of scenic
effects and one Of the greatest of
craftsmen on the stage. has given to
Polly OF the Circus" the best results
Of his genius for spectacular effects.
Polly of the Circus" ran for more
than year in New York and lasted for
extended engagements in Boston. Chi
cago, Philadelphia and other large
eastern cities. The production which is
promised San Francisco will be as
elaborate and excellent as that enjoyed
ia the east The title role viii be in
the hands of little Ida St. Leon. who
is said TO be one OF the worlds greatest
equestriennes and an ectress of talent
and training.
The story Of Polly" is simple. 1t
deals with simple folk, such as are met
in everyday life, the people of a small
middle western community A circus
has come to town, and Polly the bare
back rider, has been thrown from her
mourn and seriously injured. The acct
hSAA htAheS hNi 10 1ile nome OF
clergyman. This child OF the tent is
thus brought into an utterly new and
10 her a strange environment. Hither-
to she has known no life other than
that Of an existence near the sawdust
ring. But she wins the heart of the
churchmsn and loses her own to him
She has no desire 10 return to her for
mer life. The claims OF her domestic
nature require the satisfaction Of
home, but gossiping neighbors inform
her that her continued residence in the
pastors house IS creating scandal and
that she is jeopardizing his good name.
So she goes away. She returns to her
tents and to her sawdust ring. There
the clergyman finally finds her and the
difficulties in the way Of their union
are surInounted. The final tableau
Ahows the reunited Lovers standing on
The San Francisco call. [volume] (San Francisco [Calif.]) 1895-1913, 1909-07-25

nessman must have the soul of an artist and
the tact of diplomat. He is the man behind
the waltz, so to say. and the influence behind
the business. He has no sinecure, because
even a Merry Widow" show will not waltz of
it's own impetus.
I was interested in the methods and man
of Henri Gressitt, who has long since
departed, to tell other communities about the
wonders of the Savage show There is a diff
ference between press agent and business
manager. and few combine in one the talents
of the two. But Gressitt does. and hence this
tardy tale
= RESSITT doesn't look like a business
I man. He might be a lawyer or doctor,
or the eldest son away from England on
pension. He is the soul of leisure, appar-
emily. and lie has always time to visit
clubs, fashionable functions newspaper Offices
and his or any others show. The suspicion
attaches that he does not sleep al all. He
told few things about himself while he
was here complaining that the papers didn't
give him at least a page a day. for the de-
mands of the business manager who has the
heart of a press agent and the persistence
OF a newspaperrnan glorious in their
scope and audacity.
Gressitt is Baptist and was born in Vir-
gnia. He wrote a letter once to a clergy
man about the morals of the stage, which
spiked at least two guns of ecclesiastical
criticism of the stage. Fifteen years ago he
went into the theatrical business. In sea-
son he had become a manager on his own
account. Playgoers will recall the boy man
ager who handled Robert Downing who
since has switched from player to preacher
Minnie Seligman. Eugene Blair. and such
plays as The Lady of Quality" Captain
Barrin gton" and. others. including even
"zaza." all of which he had and prospered
with.
And that is interesting. too. for man may
accumulate $4,000 that wayne did-and
drop it in the hole of single failure. with
a fortune built up from the first penny and
towering to the height of a stack of $500
twenty dollar gold pieces-I don't know for
The San Francisco call. [volume] (San Francisco [Calif.]) 1895-1913, 1909-07-25

every evening with a secret hope in
my heart that the star might be i'll.
thought I could not endure such a po-
sition. Imagine it! To hang around
waiting for misfortune to overtake the
principal before luck can land in your
dressing room. 1t was too ghoulish and
so I said no. would have said yes had
thought that illness was camping out
side of Margaret Illington's dressing
room. But said no. and missed the
chance of a lifetime. for, as you know,
hardly had the company been presented
in the play when the star was taken
i'll. and a series of sick spells followed
her for months The understudy got
the chance of life to show what she
could do.
4 may say so, hope. without undue
conceit, but I would not have played
the role as Margaret Ellington did. I
have my own ideas about it, and 1
think I should have been success.
But the chance has gone by now..
lfT HERE is another reason why
was so panied at the thought
that my first San Francisco ap-
pearance had not been success. I
had just come from Portland, Ne,
where for several seasons had been
the leading woman in the largest stock
company there. Now. in stock, you
make friends with your clientele. The
play goers and the players get to
know each other and the bond of af-
The San Francisco call. [volume] (San Francisco [Calif.]) 1895-1913, 1909-07-25

the deserted site of the circus of the
night before, watching the wagons dis
appearing over the hills. Polly repeats
the lines of the wonderful story of
Ruth and Naomi: whittier thou goest
l will go; thy people shall be my people
and thy God my God"
In the third act is shown three ring
circus in operation with an array of
performers, including Barlow's equine
paradox, the famous st. Leon family of
European acrobats and equestriennes, a
number of clowns, tumblers and equiI-
ihrists and several trained horses and
ponies.
The acting company includes Earl
Ryder, David r. Young, Leslie King.
Harry Lane, Stuart Johnson, Charles
Lamb, Mart T. Kelsey, Agnes FindIey.
Ethel Downie, Kate Jepson, Violet
Moore and John Findley.