Arizona republican., 1913-01-26
Written Especially for The Republi-
 can in Two Parts-Part 1.)

William H. Crane, who has for many years delighted the theater- going public with his memorable stage portraits of whimsical, lovable old men, was one of the most inti- mate friends Americans grand old man of the stage, Joseph Jefferson, and he loves to recall the happy days spent in the company of the great Rip Van Wrinkle. The other day question asked by an ac- quaintance opened a vein of reminis- cence. and for nearly an hour MT. Crane talked genially of his old friend and fellow comedian, Joe" Jefferson.
 MT Crane has with him in his company this season William Winter Jefferson, son of Joseph Jefferson. MT. Jefferson plays an important role in "The Senator Keeps House." which will be here shortly. The young man was named for William Winter. the famous dramatic critic who for years was a bosom friend of the fla nous Rip Van Wrinkle"
 "The first time I ever saw Jef- ferson play" said MT. Crane with an engaging smile, was at a matinee in Booths theater when I was with the Holman opera troupe. probably forty years ago. The play was Rip Van Winkle,' and it had just begun to attain it's great drawing power. I sat there watching the performance very carefully and critically. That was the time when I didn't know much about my art, but thought I knew a great deal. but before the first act was half over 1 had come to the conclusion that he wasn't try ing to act because it was a matinee, and he was saving himself for the night By the end of the act, 1 be- gan to feel interested, and by the middle of the second act I found that he had caught me in his grip. l dis covered that it was his very repose, the perfect naturalness of his act | ing, that was taking hold of me so. 1 I didn't know enough to realize the wonderful power of the man who could hold an audience for twenty word. During the third act, I found myself with tears running down my 1 face, and when he got through-ther | | work of art.
 Twenty five years afterward | saw Jefferson play Rip Van Wrinkle at a professional matinee. I remem bered my first impression of the play | Vividly and was eager to see it il the light of my greater experience | When the first act was about two thirds over, I found myself agail feeling sorry that I had come.
 thought my illusion had been de stroyed Now I said, know to' 1 much of ay art But the secon' act came. and this time I did realz
 the consummate art and skill of tn man holding that audience with monologue lasting an entire act. Il the last act I felt the tears running down my cheeks, just as 1 ha'
 twenty five years before. Then 1 knew why he held the audience. was the humanity of his portrayal the marvellous magnetism of the man that gave him such power; and
 realized the wonderful art of tn actor who could so completely sinl himself in the character and yet al
 the time let us know that he wa
 Jefferson.
 Why He Specialized
 People used to ask, Why dOesn'
 Jefferson play other parts? His eX
 planation was very interesting. H
 said to ne once: Suppose I were t
 play Sir Peter Teazle? Sir Peter ha
 always been associated with a larg
 man. I'm too small to play hin Jefferson probably never weighe
 over 1855 pounds.) Besides he said
 he is a bad part; his work is don ,. at the end of the screen; after tha . he's little more than lay figure
 and no matter how we'll I played hir
 I would be at a disadvantage. liner
 again, I have been associated so lon with two other parts-why should
 go to work and destroy my place i , the affections of the public for tn sake of doing something new tha
 perhaps I would not do well? Ina was an example of his unusual Sd
 gacity and common sense.
 You can say what you like abou
 the artistic reproduction of a char acter," MT Crane exclaimed, sittin up Straight and losing his reminis
 cent look for a moment, but peopl
 today demand that an actor sha fill the eye and look the part It
 not like the old days, when ma was engaged for a certain line C business and had to play that kin