Evening star. [volume] (Washington, D.C.) 1854-1972, 1912-01-07

that would represent correct '"ip'
ton for smile. or OF diamonds '"a'
would measure the value OF that deilca'e
emotional torture which wrinss .oi.
sympathetic tears. The pleasures oi '"e
,bea1cr are as elusive as shadows; their
intensity varies with a thousand consu-
CREATIONS So indetinable is the quality
that means success that it is smal W>n-
der that many producers weary OF seri-
ous attentions to the muses. and frankly
nav their devotions TO the goddess OF
chance The same manager attempts
farce. musical comedy. extravaganza ana
rrapedv in swift succession, ignoring the
fact that il would take half "A lifetime 10
thoroughly qualify for expert supervision
~ any one of these branches. Ragtime
md blank verse all sound alike to the
manager husily engaged in writing IN has
chcck book AS "A result the grand opera
impresario Of this week is the bur
lcsoue producer of the next. while the
former promoter of the blood and thun-
der screech has taken his place as pur-
yeyor Of subtle epigram and refined mel
ody.
In All these ups and downs of theatre
cal life none has tumbled about more
prominently than AL Woods, the old-timc
meiodrama man. When he announced
his coming TO a popular-priced theater
the property man without waiting for in
structions ordered firearms and blank
cartridges and sent the thunder sheet
around 10 the tinsmith for reinforce
ment. When he went into farce he went
after n Paris shocker. His method was
10 have the French farce carefully ex-
purgated and then throw away what re-
manned and produce what the censor
tried to leave out. But the wheel mas
Kept turning, and last week brought Mr.
Moods into evidence at the New National
Iheater on a secure legitimate footing
..AI Woods breaking into the hign-
priced houses exclaimed a cynical aud
tor before the Monday night curtain
went up on the The Littlest Rebel.
Its burglary"
Ii was the hand Of child that has
led MIR. Woods safely into the paths OF
the high-class drama. The little lead
ing woman of The Littlest Rebel Is
an irresistible influence. and 1t would
be hard to go wrong where she so
confidently and with seeming artless-
ness takes the spotlight in defiance of
author. producer and an assembled
most of veteran players. The play is
a virile product from the pen of Ed
ward PEBBLE who has hitherto seemed
in danger of drifting into a somewhat
shallow, sentimental strain. Mr.. PEBBLE
is an artist in depicting the little
destinations of childish temperament;
he is also adept in portraying the big
boy of man whose faults are to be
forgiven because he is good to his
mother In his new play ne goes into
the more rugged emotions and de-
velops situations and climaxes that
clinch and hold on. He preserves his
dizziness of touch in delineating the
gentler side of human relationships.
But this time he has a big story to tell
and he tells it confidently.
Bet you a hat you'll cry before you
get out of the theater." was the fire.
uuent remark of the treasurer to his
acquaintances among ticket purchas-
ers. If many of them took him up he
now has more hats than he can wear
in a lifetime.
After so long experience with the
vicissitudes of the stage Henry w.
Savage must be something of a phil
osopher Otherwise he could not re-
train from giving expression to a GER
tain artistic resentment that must arise
when he notes how many more people
are anxious TO see Excuse Me" than
were willing TO sit through the spa
ghetti and slang OF THE Girl of the
Golden West" after he had grand
operated on the Belasco play. The
producer who lands a big success is
10 be envied. but the one who. as in
the case of Excuse Me-" sends a sue
cess back twenty-five or thirty per
cent better than il was when 1T first
scored is to be admired and esteemed
as a benefactor. There is only one re-
Spouse to be made TO the patron who
would question the price OF ticket to
Excuse Ne: How many laughs do
you want for s2o''
Julian Eltinge still manages TO re-
main as famous the corsets he
wears. No higher tribute could be
paid to his art and the industry of his
advertising manager.
PHILANDER JOHNSON.
r. q WHITNEY.-F, c. Whitney comic
opera impresario OF American and Eng
land. paid flying visit to Washington
last Friday TO attend 10 some details rela-
tive TO the first production in Ameri-
"a OF his new comic opera, Baron
Trenck," which interesting event oc-
ours tomorrow night at the Belasco
Theater.
To an interviewer he explained that
most Of the massive scenery to be seen
here was made in Europe and had
been sent direct from the steamer to
Washington arriving here the day be-
fore, accompanied by his stage crew
Mr.. Whitney came on TO see that
everything was all right.
On being questioned as 10 why IL
hurried journey instead of having
one OF his stah attend To the matter
Mr.. whitney gave an explanation
which Is perhaps characteristic of the
man and his many successes.
Il believe. said Mr.. Waitney, that
have the best executive stan OF any
producing manager in New York, bu,
with "A first presentation of one OF
my productions | attend to every de-
tail personally.
Mr.. Whitney prefers Washington fol
premier because he says Wash
ington audience Is cosmopolitan anG
gives an impartial verdict, represent
ing the taste of the country at large
Seventeen years ago." continued Mr.
Fencing Master and it's success ever
nj TIC .lut will i..a