Omaha daily bee., 1910-01-30

Here was a girl with adorable dlmples
and gentle, elinging ways who could play
the pleading wife--but she could not I'M
derstand the mental anguish OF the wife
who thought herself forgotten n who
yet determined to show the world a brave
and smiling face. There was a statuesque
creature who looked the typical New
Yorker. who delivered the cynical speeches
with a verve that was d~electable-but
when it came to moments OF despair, OF
home sickness and desolation she was
hard as tacks.
Finally, thanks TO the failure OF another
play, Miss Josephine Lovett, my present
leading woman, was "at liberty and Mr..
Harris engaged her on the instant. Our
troubles were over, but day after day, my
thoughts have travelled back to the three
young women who had the opportunity to
play Peggy and who could not do II
simply because they lacked, not beauty,
carriage, distinction. enunclatlon and per-
sonal charm, but the ability to concentrate.
One girl in particular gave a most flip
pant reading OF some very tender lines.
She raced through a fine speech as II the
judges stand were Just ahead. After cor
recting her repeatedly. l sat down patiently
to explain just where she was wrong.
And what do you suppose was her answer?
MY dear man, don't expect me to take
a rehearsal seriously. I always give a
corking performance before an audience
but here before a few actors you can't ex-
pect me to be emotional, or to show what
/ can do"
But that was just what l did expect and
just what every star and manager expect
Af n nln NgW l., .N. ,-a1N -. 4. - -
ting off till tomorrow what must be shown
today.
Another Young woman argued over the
meaning Of almost every line she read.
Presumably the playwrights, the producer
in charge of the rehearsals, and myself.
had given months to study out the real
Interpretation OF those lines, but this Young
person Of strong opinions and an exalted
idea OF her own cleverness wasted precious
time, delayed rehearsals and drove us all
to distraction by refusing to adopt our in
depreciation and to work on lines suggested
for her by more experienced minds.
These memories Of trying lays for the
manager and the star should carry their
message to every girl in this city who
thinks she would like to Join our profes-
sion. Success on the stage is won not
AhAbuSH any huN IdtlefleNic, Dul
through a curious combination Of many.
The ''stage-struck girl" should have good
health to Withstand the strain OF long
hours, constant travelling. poorly cooked
food: She should be above all things
adaptable. No stenographer or department
store clerk would think OF denying her
chief, without expecting immediate dis
missal. But many a stage-strick girl
thinks she could do this aud escape on the
score OF the artistic temperament"
The stage-struck girl must possess enor-
nous capacity for work. II is not enough
to study your lines and go through the
part as the stage director requires, II you
are to advance you must grow mentally
You must learn to expand your part, no
In words or is well known as stage
business, but In characterization. the mental
strength which you put into your interpre-
tation, the personal magnetism which you
exert over your audience. which can all be
summed up in the word sincerity" TIL
playwright can give you the mOht charming
OF lines, the stage director can give you
the most carefully thought out business
and the manager the most beautiful OF
Partisan raimeht. but unless you give forth
sincerity, you cannot succeed as an actress
And sincerity Is built on brains. the gray
matter. which l consider Infinitely NOR,
important as a N asset than a Cupid's bow
mouth. eyes like velvet pools and a dim
pied chin.