New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-05-03

she did not say regarding the different
ways to fascinate man." she was
rather doubtful about newspaper publici-
ty But The Tribune man assured her
that his interview would be very serious,
and all about Art VITA the capital "a.
and Miss Reed finally consented to take
a chance And this was how The Tribune
man came To be admitted. and to show
how very serious he was the first quos-
ton he propounded was this:
Miss Reed. are you satisfied with the
present condition of the American stage?
And the young actress flashed back her
reply:
NO, / am not!'
Then, fearing The Tribune man would
think her a Cassandra, she fastened to
add that she did not want TO appear to
pontiticate, but that she thought she
could explain
you see. our public is youthful one,
and its idea Of an actress is one of whom
it can be continually saying. Isn't she
sweet" Isn't she lovely" Isn't she a
dear" That, at present. appears to be
the general mentality of our audiences.
I'm Europe it is so different There it is:
Isn't she wonderful" And cetween these
two points OF view. or. rather points of
feeling. there is, alas, n long, long jour
ney. Now. / am practical, and | realize
that until | have become supreme | must
give the public a good deal OF what ii
wishes; but | can tell you that as soon
as 1 become famous enough and have
made enough money TO be able 70 do it.
-,
Another great weakness in our theatre,
and one which absolutely stultifes so
many promising actors and actresses, IS
the manner I 1 which they are forced TO
act always the same type of character.
When an actress makes a success in one
part. FOR some unconscionable reason
managers think she must ever afterward
appear in such parts. That versatility
should exist appears TO many OF these
managers as contrary to the order OF
nature. Now, for one simply refuse TO
be bound down in this way. I made my
first great success in a drunken scene in
farce comedy. in Seven Days whereupon
! was at once put down as farce comedy
actress of drunken scenes for all eternity.
Fortuna ely. | had a will. and | pro-
ceeded to smash such decisions by sew
eral sea ms of carmine adventuresses.
played in Tine Typhoon' and in The
Master Of the House Once more l was
pieeonholed. [ was TO go through life
wrecking lives and generally raising hob.
Again l revoted, but when Mr.. Woods
| had the courage TO put me in The Yell
low Ticket in a part which summed I'D
the idealism Of the Jewish race, he was
ruin his play. But | appear to have
fooled them all again. and I hope 10 be
able to continue to fool them until | am
a gray haired old woman.
But. after all. We mustn't theorize for
theoriZing kills creation. What We must
do is get up and do and if it is in us il
will come out. The great thing is never
TO the basic truths of art How MANY
fine talents have been ruined by their
possessors abandoning the primal sim
plicites, the foundations upon which all
good acting must rest, and continually
exaggerating certain traits in their per-
left An actress should always be sincere
Sincerity will always prove the best and
truest friend in acting. as in life"
And as The Tribune man took his leave
this was the note that remained in his
mind. Truly. he had not been false to his
promise-it had been very serious inter.
view.