Evening star. [volume] (Washington, D.C.) 1854-1972, 1910-06-26

Of the people nearing the end
with an empty laurel upon the brow ana
want for a companion. such 10 said TO
be the present fate of Clara Morris, the
once great emotional actress. whose art
In her time placed her among the hrst
Of American players.
Stories come telling not only that she n
Sorely embarrassed and II likely to lose
the home she provided for her Old age.
but that she has actually become blind
and poverty IL but q short distance from
her door.
To those Of days gone by who have
been thrilled with the performance Of
this great actress and splendid woman
the news Of her distress will come a. q
sad, even q pitiful. message. For IN her
time no player on the American stage
was more popular and none perhaps
reaped a richer harvest IN testimony
from the public. Yet the years and sick
ness and misfortune. It seems. have grad
ually Slapped away the security OF her
peace and she stands on the brink Of the
hereafter blind, helpless and almost home
lees.
1t Is to be hoped these stories Of Miss
Morris are exaggerated. But there are
sttll those Of her friends in former days,
both In q personal and q theatrical sense,
who will take no chances, but rush quick
ly and literally to her assistance. The
truly great IN any walk Of life deserve
something Of the fortunate when sickness
and want overtake them. Thus Miss
Morris deserves the attention OF the
american public today.
Many have sent checks for her relief
fund. Still others less able to contribute
largely nevertheless have given gener-
nrl0 m
Belasco Theater a box for contributions
has been placed that those wishing to do
so may give what they can without en-
barrassment at the size Of their gift.
Through the offices CT l.. Stoddard ray
lor the manager of the Belasco Theater,
David Belasco and the Messrs- Shuberts
have given the use of the theater for
benefit for Miss Morris tomorrow evenins.
Ben Greet and his splendid band of Eng
lish players have freely given their serv-
ices and will present a performance or
Robertson's charming comedy, Taste:
Every dollar of the proceeds Will go 10
the fund for the relief Of Miss motifs
Mr.. Greet who is one OF Miss MOTIFS
personal friends of later years. Is deeply
interested In the success or the uhoer
taking. Personally he has interested
many prominent people in social. rel1g-
ious and oficial life at the capital, and
generous responses have been his reward
Many he has been deferred from ap-
preaching by sense OF deiicacy, put ne
sooner OF later. The time to help is
now" he said, and I am so anxious.
nay rather so hopeful that no one VIII
stand back or neglect the opportunity 10
lift this great actress, this charming
woman far from the position in which
she finds herself in the closing years OF
her life. Before her sight was lost 10 ner
she could write. and she did most enter
tainingly. Now she can simply SIT pilno
and helpless, ard wait to listen to the
measure of the worlds generosity TO
those who contributed to its entertain
ment to the best of their ability in days
gone by.
TRIALS OF A STOCK ACTOR.-Eyer-
EFT Butterfield, who Is counted among the
most talented Of the Columbia Players
10 firm believer In stock work TO de-
velop a player. Il am strong for 1t, he
said. but not for ffty-two weeks in the
year by any means. for that saps the vi
tality, makes the brain tired. kills the
ambition and then something happens
that isn't good for you. But after full
season OF playing one role. few weeks
Of stock work is Of great benefit The
brain, which has become more or less
stagnant. needs 1t, just as one needs sx-
eTcise TO keep In good condition. Inc
seasons rest puts one in condition TO de-
vslop new ideas and new parts
Folks who watch the players in a
stock company week after week, with
a new play each week, little realize
what il costs the player who goes
through his or her performance smooth
ly, cleverly and without a break. some
times one wonders when we get the
time to learn the lines of new parts
'i'n give you an idea OF the routine OF
the stock actor or actress. Suppose If you
please that have just finished my work
in the Monday night performance-the
one the critics judge US by-and l am
crossed and ready for the street. Maybe
/ have made a hit and maybe l haven't.
II makes no difference TO the stage man
sger so far as the next production IS con-
cerned. Up he comes with my part Tor
the next week. 1t Will average fifty or
sixty typewriter pages. Perhaps / have
never seen the play and haven't the re-
hottest idea OF what kind of a man am
TO impersonete-we always speak or our
parts as of living beings.
Tuesday morning rehearsals begin. i
must then not only read my own part,
but listen very closely to the story and
make q mental picture of the scenes, sit
uations and my own relation to the other
characters in the play. The first day
we get through half OF the play. possibly /;
the next day finish 1t. There is no seem
cry or properties at these rehearsals.
of the performance
After the first rehearsal / begin TO
study my lines and keep 1t up until 1
have them. II l am assigned TO char
then comes the rub, My method is to
look for him where-er i can find him
IN the street, OH tie street car. in the
hotel Hobbies. or elsewhere; but find
him I must, or else improvise him as a
last resort. Learning the lines is easy
compared TO getting antrehecting the
characteristics OF the man l imper
senate.
"Our final rehearsal is held the morn
ing Of our f1rst performance which. of
course. Is Monday. and then We have the
scenery and properties. After II Is over
We have a fair idea OF our entrances and
exits. just where we play certain scenes
and the time between scenes But in the
evening comes another problem. During
the week i have had the chance to study
my lines. figure out the character. arrange
the clothing and get everything ready for
my dressing room opening night. But
often al the last momen: / have been
perplexed as to my makeup. the color Of
the grease paint to give me the desired
age, the high lights and shadows OF my
part. Sometimes i have ended by using
something entirely different TO what /
had originally planned.
Every player has his or her own way
of making up. To go into detail over
makeup" is out of the question: but
the player who hopes for any degree OF
success must understand the art as
well as that OF vocalizing and reading
his lines, for that is his technique.
1T seems like a fierce stunt, doesn't
IT: But the player who aims at success
has to do IL. II is life study of con-
slant application. and stock work helps