Pine Bluff daily graphic., 1910-07-28
LURE OF THE FAKE
 DRAMATIC SCHOOL
HeAFietta Crosnan Warns Stage.
 >Srueh Young Women and Men.

That. in this country, there are in. 4falAeIaple fake dramatic schools
 Whlch fatten upon ignorant, and sim
 Die stage-struck youth, causing the
 ruin of hundreds and driving many tc suicide, IS the revelation made by
 MISS Henrietta Crosman, the noted
 actress n an article in the August aambea Of Hampton's magazine.
 Miss Gro man before exposing the
 methods Of the pseudo and fake schools. says:
 InasE1ach as l myself began on the stage and not in a dramatic sehoo3. l admit am preiudiced in 5&ycT oi real stage work for a begin hef. believe in going up in bal looms 10 learn baIloonine; it may break your neck, but, then, there is something actual, and deci i've even, ]n broken neck With equal frank ness, however, I will admit that some q the best stars on the American stage today came out of the good dra- matic schools ill New York, Chicago a1G Boston; and that, therefore, a good word must be said for some of these schools and their systems.
 The trouble is, most candidates for stage education are beginners; and the inevitable and pathetic qual- ity of beginner is that he doesn't know anything about the subject threatened.'
 Instead of going on the stage thousands of stage-struck youth are 2ured to the school of made-to-order emotion and thus shattered ambition
 ' have watched the operations of these state sycophants of years,' says Miss Crosman, eand am firmly of the opinion that the great bulk of them always excepting the worthy few are undoubtedly pernicious in their influence and are designed to take money from the silly and ambitious impossible amateur, If the drama tie schools encouraged only people who had real talent, they would have very few pupils; but have yet to hear Of an applicant to a dramatic school being refused on the ground h he ch 101 gifts.
 Take the case of Molly Daley and what l will call the Horatio Gull Dramatic Academy. This institution is a type of many others. MT. Hor- atio Gull was quack actor. Molly Daley was easy prey for Gull because she had talent and his training consisted in letting her do the work she could do, whether or not she was suited to it.
 Gull gave special performances by his pupils. Here would gather the host of admiring friends, relatives. prospective pupils, and boosters. Thus he showed that he was actually turn ing out actors" and actresses , The sympathy of the audience was al- ways with the performers, the plays were therefore successful-and profit able to MT. Horatio Gull's pocket.
 Molly Daley shone in these sim pie pieces. She played Nora in The Dolls House. This was her last and crowning effort. She went to a big theater in San Francisco with her little diploma and the conviction that she was going to be a great success. For several months she stayed around the theater. doing extra work when she could get it (which was seldom ) always encouraged and carried along by the flattery of the managers.
 Finally she saw she was being fooled and came to New York; here she went around to all the agents and managers, telling them she had grad uated from the Gull school. After she Acto oOOA AOA O y yCdA 1cptdCCuly IuTu- ed down, kind hearted agent told her that if she wanted to get an en- gagement it would be wise to sup press the fact that she had ever been to dramatic school, particularly that one. The rest of her history is the usual tenderloin story, taking any work she could get because she was desperate, and letting influential men do as they liked with her.
 Miss Crosman's words have the weight of long experience and wis., dom. She concludes her article in with an appeal every par ent and stage ambitious young person should read.
 "Girls.' she says, do you feel that you must go on the stage? Are you srre that years from now you will not be total failure as an actress and as a woman? For the odds are