Rock Island Argus. (Rock Island, Ill.) 1893-1920, 1912-01-31
63SS@Ehheatre

knees" he says, I'm too fat" He
keeps on smiling when, as he ex-
presses it, she laughingly lets him
HARRISON. He, too, is in love, and he
tells her so like this: IF you need
me, Just send this message, I want
you,' and I'll come if I'm in South
Africa, China or-hell." He gets
his answer. Il want you, but Pm not
sure l want you back from that last
place YOU mentioned
In 1.-THE Country Boy" to be seen
at the Illinois Feb. 6. particularly clev-
er is the scene said to be which shows
the boarding house where the country
boy lives while in the city. Here is
seen the fat landlady, gracious to her
star boarder, confidential as to her
troubles, and always worrying about
the payment of her bills. Among the
boarders is an old, broken-down news
paperman. He is on the shady side of
/ 40, and lis so sore on himself that you
can hear him crack every time he
smiles" Sour, disillusioned and I'M
successful, he is no less Gisagreeable
to himself than to the people around
| him, yet underneath his chronic crouch
/ he cannot get away from his character,
which is sound as a bell Another type
/ is the boarder who keeps the CONVEX
sation alive by his witty observations,
and is so entertaining that he keeps in
the good graces of the IandlaGy, al
though he pays his board irregularly,
In fact. through the creation of many
such humorous types The Country
Boy is said to rank as one of the most
refreshing comedies of the year. Thea
TRIGGERS who know that Henry b. Har-
ris never attaches his name to any
enterprise except those of high degree,
know what to expect, and they will
not be disappointed. The company
that will be seen here is up to the high
standard maintained by Henry B. Har-
ris in all of his productions and in
cludes such well known names as Al
fred Cooper, Frank Mccormack, Ralph
Ramsay, Bruce Gilmore, Frank T. jam
ison, George Schaeffer, Paul Durand,
Olive Templeton. Elda Furry, Charlotte
Langdon, Kathleen Butler, and Nellie
Fillmore, in addition to others.
It was George w. Lederer during his
New York Casino regime who gave mu-
steal farce or musical comedy most of
the wrinkles that made the feminine
choruses of the Lederer shows distinc-
tive from the vocal feminine auxiliaries
of the average Broadway musical pro-
. duction contemporaneous with his
pieces. 1t was Lederer who first intro
duced a whistling number, piped by
choristers, and also it was he who
changed the fashions in popular chorus
: deities from just plain chorus" girls
, to show" girls, and from these to
girls in long skirts, and likewise it was
Lederer who first gave the country a
dancing octet of girls labeled ponies
this in his production in the New the
atre, New York, of The Man in the
Moon" Employing only blonde girls
at one time and brunettes at another
and swinging the style from girls OF
i generous physical amplitude TO tiny
feminine charmers, which he termed
"broilers," the manager has found {
3 new quirk in his treatment of the hand
some feminine pulchritude that separ
ately constitute the singing and dane
ing feminine ensemble of the produc
ton. The newest Lederer chorus cir
innovation caught the fancy of New
York. and will probably be a note,
feature Of the performance of Mad
anne Sherry" to be presented at tn
Illinois Feb. 10. the novelty being wha
is described in some of the advertise
ments announcing the forthcoming en-
gagement as "a talking chorus"