davidaulloa/AmericanStories huggingface dataset:
The San Francisco call., 1909-08-08
By WALTER ANTHONY

and so they were easily bought Eppinger supplied
Dunpes end of the purse and George Lask took the
play after Frohman and Klaw & Erlanger had turned
IT down. Lask sent to London, that in
1900; Frank Pixley tnkered the book out of much of
its criticism, and the result is history, all save
Dunnes story of his home in New Jersey, which is all
that's left of the visible signs of Florodora's' huge
money making qualities.
4
ss-TIIE older the joke Clipped in Miss Marble,
''the harder they laugh at it in New York
I don't like te see men in the audience. I'd
rather play to women and children.
This little playlet, In Old Edam,' is nothing
but fairy story. But everybody believes in fairies.
Didn't you ever see Peter Pan?
Temperance Town is one of the greatest satires
ever written. 1t will not grow old.
Gertrude Hoffman was in the chorus when we
played the California theaer eight years ago. Now
look at her.
Mrs. Gamma Marble) Claiming Pollock wrote the
piece for She is my first cousin, but she doesn't
complain.
Il believe the public-vaudeville public--kes the
clean and wholesome have only surprise to exhibit
in front of some presentations which managers think
the people like.
Give me vaudeville IT. easier.
Louise Cunning was another notable that played
small parts with the California--'us' meaning
Matthews and Bulger Walter Jones, Dunno and some
others
There's awful lot of fraud in the world For
instance, don't like 'leming pie
Criticism is great from players standpoint
when it says your act is good There's no other kind
OF criticism The rest is abuse. Ask any actor"
These and other things Miss Marble dropped into
the contribution plate OF interview at odd and
unexpected moments She says she does not talk
consecutively but only as the spirit moves her.
She has black hair and not blonde, you may
suppose seeing her dminutive little person on the
other side of the ootlights and her eyes black
and not blue She twnl1es in steady glow of mer-
riment and is tonic for the tired and troubled The
spirit OF fun is her slave, apparently, and when she
rubs the lamp the geni appears gleefully | do not
think She works on the stage at all She plays. She
is very quaint, sunshiny and merry As comedienne
The San Francisco call., 1909-08-08

brother in law in Calgary and picked up
much that was later of value to me IN my
portrayal of the role of Jules An Ojibway
squaw, by the way. made me gitt OF a
sash which | used in the play. She made
the garment herself. 1t is nine inches wide
and nearly hve feet long. The trappers
and guides in that country use the sash as
we'll as admire its gaudy colors Wrapped
skllfuly around the waist it serves as
knapsack holder. The knapsacks are OF
buckskin, water tight and III 1t the natives
carry their provision and their matches.
The sash is used in making portage for their
canoes from stream to stream. 1t IS knotted
around the light craft, which is then car
ried easily on the back
"RUT Walter did not get his impressions
- which he set forth in The Wolf from
this particular section He went farther
north, though there is little difference IN
the manners or the men,
II made the acquaintance of some of the
mounted Canadian police. 1t is one of the
greatest and most effective organizations III
the world They are brave fellows, who
carry their law in one hand and their gun in
the other. They make few mistakes IN
arrests and are a most potent influence In re-
strant OF wrong doing. Indeed, the people
up there are law abiding. even though
removed from civilizations superficial
manifestations. Only the halfbreeds cause
trouble.
Walter is a strange personality. He lives
and moves and has his being in the theater,
and is happiest when watching rehearsal,
which, by the way, he does not appear to
watch at all He walks nervously about
and habitually fumbes with his watch
charm His nerves seem hung on a hair
trigger. Without looking up he will call
out of the darkness from remote corner of
the theater to the actor on the stage, No,
that's not my idea. This is how it should
be read Then he will proceed to explain
and his powers are keen and discriminating.
The San Francisco call., 1909-08-08

the truths which alone they could es-
tablish.
!" / made the queen a vivacious, high
minded woman, healthy and full of
the joy of life. Her marriage was one
of convenience, and it was to the evils
of royal matings such as these that I
wanted to call mortified attention.
So made the king the loathseme
creature he is pictured to be. Beside
him stands this victim wife. The hide
BUSINESS of this union is made the cen
ter impulse of book and play. I con-
tend against marriages of. this sort,
whether for social station or wealth.
l defend divorce when it annuls the
evils which grow out of such unions.
My end and aim has been to appeal to
the finer impulses of the people so
that public opinion mig be aroused
and such unions might be relegated
with other evils of too highly organ
lied civilization to the past.
Il hint with some plainness at the
duty owed future generations and to
the health of the unborn. The evil
is not an imaginary one. as the effete
and depleted families of the nobility
too frequently prove. Out of these ar
guments. whether left between the
covers Of my book or exhibited on the
The San Francisco call., 1909-08-08
Augustus phillips, the HCaZ0rS New Leading IA

In few brief sententiOus sentences he has
impaired his notion to you, usually ending
up, Not that I'm an actor You're the
actor but that's my idea When you get 1t
to his liking he IS generous IN acknowledg-
ing the fact, and cordial and kind
"He is galvanic little Scotchman, with
bristling red hair and a most positive na-
ture He has not yet done the biggest
things he is capable Of Such an artist must
work out his own salvation. He can never
pattern and trim, or equivocate or qualify.
He is Eugene Walter
.I WAS playing in The Wolf in Phila-
delphia when I received a wire from Mrs.
Packard, New York agent. She asked
me if | would accept an engagement tor
summer stock in Cleveland. As / didn't
care to go into stock again and as l had
renewal engagement for this season in The
Wolf l wired No And thought no more
about the matter.
"The company moved to Baltimore,
where another wire awaited me from Mrs.
Packard. Would l consider an Alcazar
stock engagement, and wire salary?'
The west. | had never been out here,
and l felt an impulse to say Yes One
does not explain those things. It just
sounded good to me, so / wired Yes and
named a salary which did not think would
appeal to the management OF this or any
other stock playhouse l heard nothing
further and forgot all about it until when
we were playing in Trenton l made run
into New York and called, as my wont, on
Mrs/Packard. She said: Frederic BelascO
has been waiting here for two weeks to see
you I met him that afternoon at his
apartments in the Astor, and in Is minutes
was leading man elect of this theater $500
miles away from where we scratched our
names on the bottom of papers. had COM
mitted myself when l said Yes and named
my salary.
"And now I'm glad I'm here, only wish
that first night was over.
The San Francisco call., 1909-08-08

wv lLLIAM FAVERSHAMh has played
M Tho Squaw Man for you and me,
for a consideration, and so has
Dustin Farnum. That's what is making
Mr. Augustus Phillips nervous now, for he
is to be the third, and will make his Alcazar
debut and his first San Francisco appear
ance in Edwin Milton Royles drama.
Those are hard men to follow" says
Augustus Phillips, who is to be the new
leading man at the Alcazar theater during
q season OF plays in which he hopes to make
good.
Modesty IS not the usual grace of a
leading man. Few possess it, actually; few
simulate il successfully, and still fewer cul-
tfate it. / should say, after a single in
terview, which started on the "drammer"
and roamed freely away, that modesty is a
cardinal and quite unconscious virtue in
J the temperamental makeup of this man Of
the stage.
Phillips has played, perhaps, more leading
roles than any other player of his age before
the public. He has been stock actor for
eleven years In Brooklyn and In Broadway,
not to mention many tours with the cast
which Mrs. Mary Gibbs Spooner assembled,
controlled and directed.
I was somewhat surprised that after so
long a term at leading business in stock,
Philips should willingly return TO the some
what arduous duties of that position, after
having been a successful star for a season
/ CAST season. IN "ghe Wolf"
Money wasn't the only reason, though
Mr.. Frederic Belasco, manager of the
Alcszar and spotter for the best there is
in the spot light of the east, says he had to
go some" to bring Phillips out here. By
which ] inferred he meant that he had to
pay some" which fact Phillips himself did
not discuss with me- But Phillips says:
Il think this engagement. if | make good,
will be the beginning of bigger and better
career for me- You may know It or you
may not, but the fact remains that in New
The San Francisco call., 1909-08-08

4 LREADY the controversy starts
"a over Three Weeks" and though
discussion and even condemnaticH
are sometimes regarded by shrewd
theatrical managers and publicity men
to be good advertising. the following
letter is itself intrinsicaIly interesting
and is hence set forth as follows:
Walter Anthony. dramatic editor,
caIi-Dear Sir: Not long ago Governor
Hughes Of New York signed a bill en-
acted by the legislature declaring it to
be a misdemeanor to advertise, present
or participate in any immoral or inn
pure drama, play or exhibition which
would tend TO the corruption of the
morals Of youth or others"
Now. of late years the stage has run
to putridity unlimited. Tales have
been told of a shocking nature. situa-
tions developed so suggestive as to
cause Innocent auditors TO feel ashamed.
The broadcast allusions have been
made with perfect freedom And in the
main. to no good purpose.
The average theatrical manager cares
nothing for the play as missionary
agent but everything for its drawing
powers. and this was never better ex-
enpiihcd than in the placarding Of
Three Weeks by the American theater
management. Elinor Glyn's story is sa-
The San Francisco call., 1909-08-08

her happy moments are not confined to her protes-
'sional appearances
With Sam Chip she made her vaudeville debut
only the beginning of the present season at Percy u
Williams Colonial theater in New York and was
surprised find that vaudeville audiences laugh much
as musical comedy audiences-whenever they are
amused So she made immediate hit as she did
in Dream City and Babes in Toyland"
1t may be interesting to that the occasion
of her vaudeville debut Mrs Joseph Jefferson, widow
of the late star of RIP Van Winkle in box and
applauded She is cousin of Miss Marble
x
nUNNE'S father was carpenter who came to
u California in 1860 seeking better conditions than
those existing in the more crowded east. Dunno
remembers staging it from San Francisco TO San Jose,
where the family took up its abode. There were no
trains then He went to school in San Jose. and
learned the printing business.
"Many times, said Dunno 4 found that trade OF
use to me when the theatrical fodder was low and
work out of sight ! have gone back to the case
hundred times, but the dramatic virus can not be
destroyed, and | always back to the profession
again, Dunno worked the Figaro on the Dra-
matte Chronicle and on the Alta Californian. Three
pioneer papers they were.
Amateur theatricals lured him first. This hap
peued in San Jose My first appearance on any
stage was as female impersonator. Think of IT.!
said this young looking veteran
Il played Elizabeth, who was the wife OF the
farmer in The Golden Farmer which was lurid
play at the time | looked the part, guess, because
| was no more than boy, and my cheeks were not
bristling with stubble then remember one scene
where had to do sort of Davy Crockett act putting
my arm through the hasp and staple OF the kitchen
door and dcfying the mnions of the law or the des-
peradoes whoever they were, to come in and take my
husband away / thought it great scene and
that | did it with tremendous mpressiveness. After
that used to steal away from home whenever the
chance arrived and sneak to the theater
The leading man at the theater in San Jose in
those days Samuel w. Piercy, and when got on
the boards now and then. he would give valuable
hints as to my department. He was great hit then,
and later became leading for Edwin Booth /
remember his big appearance in San Francisco with
John Mccullough. 1t in 'Othello and Piercy
played Iago the formers Moor of Venice. Well,
when Booth took Picrcy away became leading man
in the San Jose playhouse That was proud mo-
ment for me, but, not too profitable Poor Piercy
The San Francisco call., 1909-08-08

to exploitation of purient productions
which managers present regardless of
public propriety and morals Yours for
clean drama,
MRS. FLORENCE NARKES,
929 Devisadero street,
San Francisco
That is not the first letter that
have seen,v said Manager Cohen, of the
American theater, complaining about
this production. 1 have had many of
them. They indicate merely the lack
of proper understanding of the aims
and issues of Elinor Glyn's work
Il met her when in New York and
was much impressed with her defense
of the book. So much so that invited
her to come here this summer and lec-
ture on the subject. She will be here.
but whether she will lecture I can not
say now.
She told me that nobody was more
surprised than she at the enormous
popularity. the book achieved.
rtWhile writing It. said she my
mind was intent on the message 1
thought it was given me to deliver< to
the public. A false Interpretation was
responsible for a general misconstru-
ing of this message; the public con-
cerning itself more with the sensa
tional features OF the book than with
The San Francisco call., 1909-08-08


lacious to an intolerable degree, but it
is billed as "a powerful moral lesson
1t is nothing more than a shock to the
finer sensibilities.
The American theater management
advises to "see Three Weeks and
learn to love your wife," which, in my
opinion, is the most obnoxious appeal
ever plaearded. 1t is only slightly
worse. however, than another fared-up
line:
Take your aninity to see Three
Weeks
These and other exhibitions of lack
of taste prove to the discerning the
fact that. theatrical managers are not
concerned at all about the morals of
productions which they proffer but
look only to the box Office, to which
they hope to lure the public by sugges-
tiveness if now downright indecency.
The public too often looks vainly to
the hired Areviewers of the press for
sharp condemnation of plays of this sa-
lacious sort. If the critics will not
warn, from whom shall help come? A
morbid curiosity to see and hear un-
healthy things will always provide
patrons for plays that should not be.
Instead of fostering and cultivating
this mental attitude toward the drama
critics should refuse to lend themselves
The San Francisco call., 1909-08-08

word that his wife was suing him for divorce.
apologized for being rough with him, under such
trying circums tance6, and forgave the giant mag
unanimously For week Iforgave him. Then one
day he forgot my shoes. 1t matinee, and
didn't feel good anyhow | went after him again and
told him what my sentiments with reference to
his monumental stupidity. AS before, the big Hun
garian wept This time his baby had dieG. By the
time reached Springfield he had killed off his
family of four children divorced his WIFE, buried his
father and mother and three beloved sisters Every
time I scolded him he wept and killed another rea-
tive. 1t was becoming too sanguinary, so fired him.
x x x
NoU know it was Dunno, Ryley and Fisher
! who owned "Florodora" A lawsuit between
Dunne on the one hand, and Ryley and Fisher, on
the other, resulted in compromise being effected
whereby Dunno was paid certain sum and was
frozen out, as he expresses it.
It's strange, said Dunno the little dressing
at the Orpheum after he had removed all traces
of his impersonation of the wicked Dutch uncle Its
strange, but do you know that the only good money
that Florodora paid to any of its three first
owners was the compromise payment made to me,
when sickness drove to accept what was a ridic-
ulously small amount for my equity in the comic
opera?
Il believe i have Christian disposition in this
matter do not say it with any sentiment of exulta
ton in my heart, but | got the only money of
Florodora that ever did any good 1t made fortunes
for both RYey and Fisher, after had been squeezed
out OF the firm Ii made 81 100000 / dare say and
both became wealthy But everything they
touched theatrcaly, after that failed until
OF the earnings of the original 'Florodora' in this
country remains in the hands of its owners, except
one. ] took my bit and bought home in West end,
Long Branch-thats in New Jersey-ard we have the
home still
i would not have compromised my suit against
Ryley and Fisher if | had been sick at the time
and in a hospital | had the first points in the
ease and would have them all had stuck; but
the temptation of the ready money and the mportun-
ties OF my friends decided accept the compro-
mise offered, and now I'm glad l did
Fisher had made money as manager for
ModJeska and built theater in San Diego John
Dunno and Thomas c. Ryley were here the Cali
tornla theater playing a season of Hoyt's farces.
'1orodora making great hit in London but
the American rights TO the piece had gone begging
The San Francisco call., 1909-08-08

with this provision contingent, have
been declined by him.
BY the "old horse" Morris referred
to the time "A years ago when he landed
in New York with his parents. immi-
grants from Germany. and at the imma-
ture age of IL drove an ice and coal
wagon for the helpful support Of his
family. William Morris was born at
Schwarzenau. Germany. in 1878.
From the coal and ice delivery. where
Morris worked from $50 a. m. until
s D. m. he graduated into a grocery
upon becoming able to speak the
language. He remained a grocery clerk
until the age of Is. throwing up posi-
ton paying him $40 per week to ac-
eept job with a publishing house in
Broadway for $3.50 weekly. The pub
fishing house issued trade journal
Norris was promoted to the rank Of
advertising solicitor.
The times We're prosperous. Morris
was an energetic hustler" and at II
Printers Ink published his photograph
on the front page as the marvel of the
trade.
shortly after the silver panic" OF the
nineties Morris had reached an earn
ing capacity Of 5000 weekly in his pro-
fession as a solicitor Of ads. Believing
The San Francisco call., 1909-08-08

York the Alcazar theater has the reputa-
ton of being the best stock organization
III the United States. / do not say this
because | am now identified with it. but as
a simple matter of fact. 1t has that reputa
ton. To come here and leave with
record of success is the best reputation
actor or actress could reasonably seek.
That's one reason I'm here
Besides, / have not the starring bee
in my bonnet ] want to make such
name for myself that when the producing
managers of the cast arc assembling Broad
way casts, they'll say. referring my way;
Hes the man we need A successful en-
gagenent will help earn that reputation
for me.
go NE trouble with thcatricals in the east,
~ particularly in New York, is that the
profession has become a devoted slave to
types OF course, there are cultured, all
round players, but mainly actors exploit
or are called upon to exploit. personality. /
knew case which arose recently where a
certain vaudeville sketch was being made
ready for the public The promoter was
willing TO spend much money on the pro-
duction, and as his bookings and profits
were secured, he jingled money in his purse
and was qualified to get the best One OF
the roles-and it was the principal part
was of the sort | speak 1t was type.
Instead of engaging an actor, with training
and experience on the stage, or tentatively
adequate training in school of acting, he
engaged man who had, been for many
years wrestling with trunks in touring the
atrical companies The man happened TO
fit the role, in the producers estimation, and,
to do the fellow justice, / must say that he
answered all the requirements after a two
months drilling in the role Instead of
porter he is now an actor; and has been
taught parrotlike, | should say, to do c>-
actly what he was told to do 1t is a sue
cess, however. and perhaps he may live
and die playing the same role, for vaudeville
The San Francisco call., 1909-08-08

of America are so intertwined, inter-
woven and complex that there is but
one man in the variety branch, Of
present Importance. who stands clear
of all entanglements with any COM
bination-and that man is Norris.
Through his independence. he has be-
come one of the foremost figures in
theatricals. BY many he is claimed
to be the foremost figure in vaudeville,
for he stands alone.
On February II Nineoln's borthday),
1907. when william Morris booking
office had been swept off its support
overnight. leaving but Morris and his
clerks, the sweep moving with it an
income estimated at from s125.O0O to
100000 year. William Morris wore
a smile and said, Il guess I'll have to
start all over again. If the worst
should happen I'll go look up the old
horse, but that sign shall never be
changed
BY the sign Morris referred to his
business trademark. William Morris,
which has remained since he opened his
own booking Office almost two decades
ago. No offer yet made has induced
him to allow his identity to be lost
Many tempting inducements, however
The San Francisco call., 1909-08-08

sketches when prosperous, are never with
drawn, you know.
/" He struggle for existence is thus be-
coming kecner, and player who pro-
poses TO make success OF himself must be
able to stand the test OF thoroughness He
must know his business from to T. and
that's another reason why | anticipate great
proht and pleasure from this engagement
If | only make good.
The Squaw Man is difficult play in
which to make a San Francisco debut, not
alone from the fact that two such eminent
artists as Faversham and Farnum have
played it here, but because the first act-and
this counts for more than you think-affords
no particular opportunity for the leading
man 1t is hard act to get by 1t is
not structural weakness in the drama, but
one of the eMgences which arises out of
the logic of circumstances | have no
chance in the first act That was why
wanted to appear first. in The Tanning of
Helen which will follow The Squaw Man
/ wanted it to precede it. No actor could
ask for better or more complete oppor-
'tunity to make a successful first appearance,
and on first impressions in this business, the
stock in trade OF which is impressions, how
much dcpends!'
DHILLIPS was born and raised in Indiana
= and his first theatrical experiences were
CLEANED under his brothers. wing, his
brother being a we'll known and popular
repertoire player in the east and middle
west; also he (William Pfillips) was for
many seasons a kiralfy star.
Augustus Phillips was but youngster
when he severed his association with his
brother and struck out for himself That
was IA years ago, and as the head of phil
lips Ideals" fine fancy name for young
ster's first company, he played royalty plays
about the country. He never came west,
however.
TO Mrs Spooner / owe all I am or ever
The San Francisco call., 1909-08-08
William Morris Career

II HE arrival of William Morris in
San Francisco about the time that
the Shuberts come in the legiti-
mate field lends interest to theatrical
affairs in this city. Morris represents
in vaudeville what the Shuberts stand
for in the other branch of the stage
business. That is to say. Morris is an
independent. The Morris attractions
will be played at the Valencia, and
Waiter Hof seely is general manager
From the Offices of his publicity de-
partment / CLEAN the following some
what curtailed account of Morris
career. The story give you is as it is
given to me. 1t shows at least what
the Norris publicity man thinks about
his energetic superior:
Morris is the idol of the artist. He
Is the sole bulwark which has main
tanned an opposition" The theatricals