The Birmingham age-herald., 1912-02-25

| Yesterday was His birthday.
 He was old in years, but chiseed so tenderly by the sculpturings of time that ence was in his face.
 He has been an actor for over 40 years. | He has posed as a model for the great est painters in the world before their | fame was world wide.
 From the simplest roles to the Heroes Of Shakespeare he has played his part. And now, in the sardonic role of No body" he is contributing his superb art. his finished Reclamation, his exquisite touch of poesy and his old school classic traditions to the allegorical Modern Nor ality play, ''Everywoman.' In this, as in all other roles he has es- saved, MT. Frederick Warde can teach the modern actor many lessons. and so I bid you come hither, ye self satisfied and over confident beginners, and sit at his feet, and let him instruct you or his abundant knowledge and varied experi- ence. Listen to him.
 He will not declare that all things in the old days were the pest.
 He will not say that the modern actor is deficient, altogether.
 No, indeed!
 MT. Warde is too broad a historian, too keen an observer his life too much asso- cia ted with the greatest actors or these and other days. his experience too ripe as A Shakespearean Star, you must admit, | l~o i, hic advice. there- fore, let MT. Warde talk
 .I am an Englshman and I am proud of it. My early education, rigid and thor ough. I received at the hands of the most competent trainers in the old school or acting Associated with me in my work after I came to America let me enumer- ate MT. John Mccullough, MT. Edwin Booth, MT. Edgar l.. Davenport, Miss Charlotte Cushman, Miss Adelaide Nell son, MT Lawrence Barrett, Mrs. D. B. Bowers, MT. Louis James-all actors or the old school, who have had the tune and the inclination to strip theories of their superficial gloss and dig down to fundamental principles. My advice to the young actor is very brief
 ''Be thorough; don't slur your work
 And is that I asked. ''the cause of the superficiality of the modern actor?"
 .'The methods of training are vastly diff ferent," said the eminent tragedian, then and now. To explain that: As young actor I was engaged, among others as general utility man in leading English Stock company. We'll suppose that this company was rehearsing She Stoops to Conouer.' or The School For Scandal. The principals in the caste were naturally proficient The Stage Manager (and he was Stage Manager in every sense of the word) was not sanguine concerning the ability of the younger members of the company, therefore he calls them to- gether. He makes conventional stage setting and announces:
 "I.ades and Gentlemen, we will now practice the art of entering a room cor ! rectly
 '"ro me he says MT. Warde, your silk hat and top coat.'
 ITO another: Don your maids costume and wait upon Milady'
 And so we begin. l enter and bow with great empressment to my hostess, and think that I am all grace and elegance itself, when the Stage Manager shrieks ' No, no, Not that way. That's not the way to enter roomi'
 And he shows me how; coaches me in every gesture and posture, and before we have finished l am letter perfect in the part"
 There was the Minuet," continued Mir Warde. "There was boxing and fencing, and everything. For said the Stage Man. ager, we never know at what time we may put on a play that will demand just those accomplishments So you see the | thoroughness that characterized the train ing of the old school actor" | And that is where the difference comes | in with the actor of. the present day" I observed, who has practically none.' To-day the young actor is trained,' said Mir Warde ''in a hurry for something he must do next There are no great schools of acting. There seems to be a general sort of inoculation of nervousness, exciti- bility, of department and deliberate de- cline of ease and poise. Here and there are instances where the actor rises strong CT than conditions and he surnounts them but the rank and file--the ensem- ble-are easily less proficient in their training than those of another day" And what remedy do you suggest for such conditions?' I inquired greatly in terested ''Mr. William Faversham in discussing the subject with. me some weeks ago. advocated percentage of the shakespearean profits being devoted 10 a