Evening star. [volume] (Washington, D.C.) 1854-1972, 1912-10-13
the scene the blunder passed of with
only a few giggles from the ushers. i.


ART is ENTRANCING-see wha.
Gaby Deslys says:
Il would not give my art for all the
men in the world. Love passes. 1t comes
and goes. One finds ones ideal, loses 1t
and sets about looking for another. But
an art. a talent, one possesses always.
Il would not marry q rich man unless
were as rich as he. 1 would not give
up my independence. A woman is very
foolish who does. Men, generally, are
very egotistical. AS a rule, they give to
a woman merely their surplus. what they
do not want themselves If woman is
rich, independent, she does not feel this.
The man respects her more That Is
why so many men admire the women of
the stage. A man knows an actress has
her art, her value for the public as we'll
as for him. Other women may seem to
| him as beautiful, but he has not the
votes of the public back of his opinion.
and he is not sure of il.
| Il cannot tell you what my ideal man
must be like, except that he must be of
my own rank, with a mind and an educa-
| ton equal to mine. Princesses may
marry gypsieS and station agents. but
| cannot understand that sort of love. Be-
lleve me. L reason out everything and l
act always as my reason tells me-
| think, of course. it is better to marry a
| rich man, but If a poor man pleased, had
Just the right qualities. the right defects,
L might marry him. But 1 do not expect
TO marry. l am very ambitious 1 think
always Of going higher and higher and
higher! Like the price of pearls!''
| GROWING OLD.-Lola Downin who
comes to the Academy this week. insists
upon talking about old age. She will dis
cuss the pangs Of growing old on the stage,
and she thinks women who can should
quit acting before the public tires OF
| them.
'Of course she says, ut Is difficult to
lay down any general rule. Az. is so
largely a matter of the individual that
| circumstances alter cases. universal
genius like Sarah Bernhardt. for instance,
even We're she not blessed with what
seems to be sort of perpetual youth,
couldn't help acting if she tried.
The pathOs of growing old on the stage
| is largely matter of temperament.
know an instance when 1 was q child. A
certain actress had been for several
| seasons without employment, and when
employed she was unnoticed by the press
and public. She found herself engaged
| for the character role of the mother
Years before she would have been accepted
eagerly as the heroine, the daughter
Now younger. fresher woman was en-
gagged for that role. But on the night of
the first performance the older actress, in
her role o. the mother, carried off all
| the honors. She gave wonderfully SYM
pathetic performance, and from the ap-
i plause and curtain calls there was no
doubt that she had made the hit of the
play.
But when We went into her dressing
room after the last curtain, instead of
the happy woman We expected to find. We
saw her lying on couch. sobbing as if
her heart would break.
| why, you've made the biggest hit of
| the season, some one said. You'll be the
talk of New York tomorrow
Yes she said, the hit of the piece
as an old woman! And there was a tine
when 1 was regarded as the finest Juliet
| in the land. I know it's only the begin
ming of the end"
| There have been cases. of course, where
an actress has grown old without losing
| her popularity, even though no longer
able to play the younger roles. Mrs. Ga
| bert was conspicuous example. 10
actress could have been more beloved or
had sweeter enjoyment of popularity.
But Mrs. Gilbert grew old gracefully, and
she didn't try to go on doing the impos-
| sible. She, knew when it was time to let
younger women play the heroines, while
| she brought her finished art to bear on
character roles.
There are many women on the stage
who are not destined to be fine artists.
| but who, with a fair share of talent and
good looks. are able to enjoy popularity
| for certain length of time. They get
! large salaries. too. Such women can gain
nothing by going on and on to the bit
ter end. They would far better retire in
the heyday or success than face the in
evitable disillusionment and the heart
ache that come with the dead ashes"
| VINE DALY.-AlthOugh the rare hui
NOR and infinite artistry of the late Dan
| DAILY no longer delights audiences, his
| be seen and heard in the role of Serpo-
| lette with the Aborn Opera Comique Com
pany's presentation of THE Chimes of
Normandy at the Beiasco Thcater next
week
Miss Daily, who is the favorte niece of
the comedian. was urged by him to take
| up an operate career. because of the ex-
quisite soprano voice she early revealed
| Although she appeared for several wears
| as child performer in vaudeville and
| musical comedy. accompanied by her
mother. Lizzie DAILY, she was subsequently
| sent to Europe to train under Frencr
and Italian masters for the grand opera
stage.
| The result of this schooling was a debu,
| in Italian grand opera in London, and
early in the present year her engagement
| for the role of Serpolette in the imposino
production of THE Chimes of NORMANDY"
/ effected by Oscar Hammerstein at his
London opera house. was concluded Her
| success was SO complete, il is. declared
the Messrs- AbOrn were prompt to enlist
| her services for their special cast in the
big spectacular production of the opera
f., to be presented here next week.