davidaulloa/AmericanStories huggingface dataset:
The sun. [volume] (New York [N.Y.]) 1833-1916, 1914-10-04

noted that the authors Of Evidence are
named as ]. and l.. du Rocher Mac
pherson. These two are brother and
sister, and the brothers initial is given
first because it also stands for Jean,
the name of a sister dead these several
years. Jean comes in because 1t was
she who planned the play in every de-
tail before her death. and its completion
by her living brother and sister is their
tribute to her memory.
The situation is so unique In the
ANNALS OF playwriting that II deserves
an unusual attention. quite apart from
Its great value as human story. Play
writing was the burning ambition Of
jeans life, and she gave her whole
energy to It; while her brother and sis
ter. quite out of sympathy with the
combining character of literary work
spent their time in athletic pursuits
out Of doors. AS Jean worked on her
efforts gradually won recognition, and
no less a parsonage than Sir George
Alexander pronounced her genius.
But neglect of nature also began TO tell
and poor Jeans health faded away and
in a short time she died From all ac-
counts she was a beautiful character,
and 1t was no wonder that her surviving
brother and sister loved her. Both would
gladly have sacrificed much could she
The sun. [volume] (New York [N.Y.]) 1833-1916, 1914-10-04
BLOSSOMS GOOD INTENTIONS.

with the production OF Apartment
300" at the Palace Theatre last week
Robert Edeson will begin a campaign
of his own for widening the American
theatre. Even I'm vaudeville the dra-
matte sketch will be benefited by the
method of acting inculcated by Mr.
EdesOn al rehoarsals, and he hopes later
to produce n play along the same lines.
He says tho art of acting Ia everywhere
professionalism in spirit.
Each actor" he says, feels that his
part has been written TO reveal his abili-
tics, and the whole performance, when
there is n whole and not a mere col
lection of parts, Is so submitted to
tradition that II holds the audience at
arms length instead Of being an action
I'm which the audience shares. This
must be broken down by tina ;S,3r.:7
simplicity and directness on the part OF
the actors, No player should try to
stand outside TIE frame, no traditions
should he followed, hut the spirit and
letter OF each text should he revealed
as completely. as naturally and as har-
moniously as possible"
In Apartment 800" and in subse-
quent dramatic productions MIR, Eide
son will lay every emphasis upon the
freshness, business and intimacy Of the
action. For he has the laudable am
bltlon to "decabo,iniser racteur," which
literally translated means that he hopes
to free tho actor from his charactsT-
istcs as strollng player. hut, moro
spiritually rendered, means that he
wants to raise actors from professional
tied entertainers, or personalities" To
cooperating interpreters OF works OF
art
Thereby he hoped To accustom them
to the reading of lines quietly and sim
ply, az though intimately to a friend.
Instead OF declaiming them as to body
OF, admirera
The sun. [volume] (New York [N.Y.]) 1833-1916, 1914-10-04

''rhe role allotted to Mr.. Jolson gives
him the widest possible range for the
display of his talents. First he is seen
in the familiar role of Gus, valet to ain
army officer. a reverse In his social
status compels him to seek employment
as n hotel clerk and while 80 engaged
he appears, in quick succession, as
twelve distinct characters. In a later
scene Mr., Jolson will remove his cork
cuticle and for the first time in his
career is 10 play in white face. This
character is that of an ultrafashion-
ab.e drcssmaker and gives Jolson an
opportunity to prove that he is an eX-
cellcnt farceur. His work in this role
IS said to be not unlike that Of the
The sun. [volume] (New York [N.Y.]) 1833-1916, 1914-10-04
NEW YORI<'S NEW STAGE FIGURE

Then there was suggestion. II crept
out Of simplicity. \ touch or two of
Eastern decoration on a fiat wall sum
monCd more Of the Orient than acres
of carved fligrce.
"A third quality gave aid from the
other arts, impression The artist
in scenic design, like the artist In oils.
created an atmosphere Of reality. not
reality itself, the impression of things,
not crude, literal representations Flakes
Of color, here and there. brought n unity
OF beauty. All these clements of the
new staGocraft have appeared in Mr.
Irhan's American work.
MIR, Urban carries US still further out
Of the old make believe world Of the
opera house ny his novel use of plat
forms. Many of tho rooms in pcllcas'
were raised two or three feet above the
footlights. As a consequence the sot-
tings seemed smaller, more intimate.
but II is the secret Of his effective
living colors that makes his walls look
like something besides tapping canvas
lie applies his color by the method
known as 'pointlllage'- method known
to all artists and used more or less by
the ma iority. Unlike tho conventional
scene painter, he does not try to make
a coating Of Glutinous paint and some
shreds of canvas look like rocks or air.
lie follows the modern artist daubs n
tlrck of color here. another there, and
achieves total effect that is as sug-
gcstlve of reality IA is any painting by
Monet. and hence in the same degree
beautiful And the many hecks of color
carry all the prsmatic glory of natural
light.
MIR. Urban's method of work Ia
curious and interesting; his studio dis
tinctive. one finds him "A largish man
of early middle age. with vaguely leu
tonic features touched by something
Of the East, the Niennesc.
"After n reading of the score and the
lihrctto to fix impressions he lays out
the ground plan ofieaCh scene. II is an
accurate map of how much space must
be used on the stage and of the general
conformation Of the buildings Next
he makes his sketch Of tho scene, n
smallish but very accurate drawing in
color of what the stage will look like
from the directors chair, From the
ground plan and the sketch expert
scene painters construct and color an
accurate little model OF the scene. THIS
goes back TO the designer. II some de-
| tail or color needs correction he alters
The sun. [volume] (New York [N.Y.]) 1833-1916, 1914-10-04

In securing the services of Joseph
Urban. the Niennese artist, to prepare tho
fantastic scenes OF Edward Sheldons
spectacle THE Garden of Paradise"
the Lieblcr Company Aims to accomplish
an artistic production unequallcd in
America since the spcctaClCs at the
New Theatre. Mr.. Shcldon's dramatic
adaptation of Hans Christian Ander-
sens THE Little Mermaid" calls for
eleven scenes. The success Of the pro-
duction depends upon an artist who
could by reading Mr.. Shcldon's manu-
script visualize tho authors purpose.
Early last spring George c. Tyler
heard Of the stage pictures painted by
Mr. Urban for the Boston opera Com
pany. lie went to Boston and saw
urhan's production OF "Monna Wanna"
and Don Giovanni lie lost no timo
in making "A contract with Mr.. Urban
to create the stage pictures OF The
Garden of Paradise" at the Park
Theatre In New York, His return the
other day on an cmigrant ship from
Italy assures production of this play.
Urban, who is the apostle Of a new
stagecraft, bean his career in an archl-
tcct's office in Vienna which Is his
home. He designed, built and furnished
many public buildings before he came
to the United States. The Abdn
Palace Of the Khedive OF Egypt was
finished and decorated by MIN. lie
designed the Cars bridge across the
River Neva at ST. Petersburg. For sew
eral years he was the chief artistic ad-
wiser to the Imperial Opera House in
Vienna, where he designed the settings
for plays. including MaeterlinCk's The
Blue Bird" In an article published in
the century Md0dsine recently a writer
has described his artistic identity:
For a positive faith the new stage
! craft puts imagination before every
thing else. To take now view, an i'm
FASHIONED view and to record it fear
lessly that was its first duty. Many
qualities hitherto little appreciated N
scenic design came to its aid There
was simplicity, for instance. The sta,;e
was not to he cluttcrcd with meaning
less detail, Every property was to have
| its use, each stretch of wall to express
the one thing for which II stood, The
results were productions of calm do
sign, and broad surfaces. stronger, sin
cerer, more direct and so more beautl-
full.
The sun. [volume] (New York [N.Y.]) 1833-1916, 1914-10-04

an unusually representative cast, includ-
ing Bernard Granville, Cecil Cunning
ham, Melville Ellis, Lucy Weston, Mary
Robson, Kitty Doner, Eileen MolyneuX
George O'Ramey, Aimee Dalmores,
Olga Cook, Mildred Manning. Doyle and
Dixon, Fred Leslie, Frank Carter, Gig
ton webb. Earl Fox. Phil Branson,
Blanche Wendell, Olga Hempstone, Rita
Bates Doris Eason, Eleanor Brown,
Violet Rochlitz, Mae Deay and others.
The dialogue and lyrics OF the new
play are by Harold Attoridgc. who has
done the same service for four or five
previous Winter Garden, shows. Sig
mund RomberG and Harry Carroll are
the composers. The production has been
The sun. [volume] (New York [N.Y.]) 1833-1916, 1914-10-04
MRS. CAMPBELL IS COMING.
And the LiebIer Company Wants the
Fact known.

The return OF Mrs. Patrick Campbell
to America after an absence of i've
years /. interesting in view of the fact
that she was introduced To American
audiences by the same management
who are presenting her in "Pygmalon."
the now Bernard shaw play at the Park
Theatre, on October 10.
Mrs. Campbcll's first American tour
was In 190l-02. London critic her
aided her coming To America in n very
unfortunate way. Deploring the fact
that Mrs. Campbell, the exponent Of
Pinero, Maeterlinck and Sudermann.
should Vitiate her artistic genius with
the atmosphere Of plcbcian America
he declared that for an English actress
of such distinction TO present to the
American public intellectual plays was
waste OF her ability. Naturally the
American critics responded in an
equally cordial spirit, and Mrs. Camp
bell upon her arrival in this country
found herself compelled to combat the
false Impressions which her overzoal-
Gus countryman had created for her.
Although this occurred some fourteen
years ago 1t marks an era in tho prog
ress Of the American stage because II
was the final realization that the Amer
| lCdl lIfdNItSo'I was 1ullc HS SeISlIlNP
to the highest forms Of artistic drama
then as now. During Mrs. Campbells
American tour her selection OF plays
was more or less gloomy, gruesome
and unfamiliar To the American thea
tregoer. Notwithstanding this fact
however on the ground of her beauty
and her Interpretation Mrs, Campbell
made great impression and a favor
able ono upon the American theatre
goers for her faithful artistic purpose,
Her first American season was one OF
the greatest financial successes the
Liebler Company ever had
, Mrs. Campbell was one OF the pio-
neers in causing the influx of foreign
plays and players that has since come
to our theatres Her prospect of pre-
senting to the American public the lat
est play by one of the most brilliant oil
the worlds dramatists. G. Bernard
Shaw. sustans Mrs. Camphcl's reputa.
ton with American thoatregoers. While
the chief effect Of "pygmalion" will be
to reveal Mrs, Campbell az a comedlenne
the deeper significance Of tragic note is
touched in the end of the play. III
success at Ills MaJesty's Theatre II
bLondon was financially great
The sun. [volume] (New York [N.Y.]) 1833-1916, 1914-10-04
POINTS IN THE WEEKS NEW PLAYS

resembling his own dramatic methods.
In fact there IS little that Ia dramatic
in "Innoccnt" young girl goes to
Budapest with guardian, he falls In
love with her, she looks for other and
richer lovers and the man kills him
self when she finds them In plenty. To
have made this material dramatic there
should have been some motive for the
girls getting out of Mukdcn. She
should have only pretended innocence
and been In reality wicked-which she
promptly showed herself to bc--or she
should have been mslcd by the advice
OF another into departing for Budapest
with this guardian. whom she might
also have loved already. Any change In
her state of mind to make It different
from what It appeared to tho other
characters in the play would have ac-
complished its purpose and sowed the
dramatic germ at once. AS IT is, ono
has to wait in innocent" until she
plots to leave her lover for the slightest
beat of the dramatic pulse.
This Is not of course the method Of
MT Broadhurst. lie tightens the strings
at the outset, involves his characters
in n mesh and plies them with every
additional agony with as much compos-
ure as the Germans drop their bombs
on the cities OF France. He allows for
comic relief at all times. however, and
| the tighter he has drawn the bonds
about his victims the more daring may
his humor become. This way OF work.
manship was very well displayed in
THE Law OF the Land" at the Forty
eighth Street Theatre the other night,
Just when the agonies OF the little
group in that play were at their worst
| the dialogue between the inspector of
police and the butler kept the audience
IN constant laughter and brought the
! play to a triumphant end with as salts
flying last act as any melodrama,
drawing room or otherwise, ever pos
sessed.
For its purpose. which IL to provide
interesting stage plays, we much prefer
the method of Mr.. Broaduhrst to that
which the original author of Innocent
| employed. THE Law of the Land y
even with Its reeking first act, Is much
better drama than any part Of the
Hungarian play in spite Of It's prctcn-
tious assumption Of character study
and a revelation Of the powers of hered-
lty. Many scenes in 1.-THE Law of the
Land" are really OF deep dramatic in
terest,
The sun. [volume] (New York [N.Y.]) 1833-1916, 1914-10-04

temporary discontinue OF his antago-
mist. He laughs last who laughs best.
And the author OF Consequences" has
revealed the weakness of both races
with a delicately satirica touch as po-
tent as 1t is unprecedented.
1t Is delightful TO find In THE Hawk"
a play of life and emotion seen through
the eyes of a practical playwright: not
n play with a thesis, which usually
means nowadays thesis and nothing
more. although it's delivery in the the
atre possesses certain qualities, such as
dialogue, division into acts and other
accidental characteristics of drama !;
or a INSTALLATION of the effects OF
diseases on the human system. Fran
els de Crolsset has collected in the
play which is just now such a genuine
success at the Shubert Theatre some
of the feverish emotional blood OF the
French plays that came here in such
numbers years ago, His form Is mod
ern, and in that respect an improve
ment over the work Of the men who
wrote article A." alike" lie Fills de
Corolle." Led Astray" and the rest OF
that fearful catalogue. Yet the thrills
came more rapidly in them. and the
tears seemed TO have somewhat better
excuse for their silent flow In the old
plays.
In the meantime the public has shown
its gratitude for the novelty, and Mr.
Faversham, In view for his present sue
cess. probably Is reconciled to the ne
cessity Of abandoning temporarily his
excursions into the field OF Shakespeare
The role of the gambling husband Is
admirably suited to him. There Is
touch of the exotic In this passionate
Hungarian, devoted altogether to th'
wife for whom he sacrifices even his
Inherited honor This eXtravagance Mr.
Faversham very strikingly depicts anc
makes the fiorid, highly colored adVen'
turer a dominating figure in the play
He has rarely been better suited In
modern role. Mile. Dorziats actlni
with him has already been praised, bu
IT is altogether pardonable to repeat tn
pleasure that her novel personalit
gives to the representation,
II IL curious that George Broadhurs
! should have been in the slightest Dc
gree tempted TO deal with Innocent,
which he Is said TO have adapted fo
, the local stage. There Is nothing II
, that Hungarian product even vem0ee'7
The sun. [volume] (New York [N.Y.]) 1833-1916, 1914-10-04
By LAWRENCE REAMER.

T would he difficult to find fresher
ana less haCkneyed play than
l. consequences, which delighted
its audience on Thursday night
at the Comedy Theatre II was In
ms same playhouse that "Fanny's
FIRST Play interested the public
Tor season. 1t is not quite
credible that Mr., Rubinstein's work
VIII endure so long, although Its
merits cntitle II to genuine favor.
The case is different, however, with
shaw. -Four out Of every Ave spec
tators at the Comedy during the
long run Of MIR. Shaw's play felt Il
their hounden duty to laugh. Every
body laughs at Shaw or they are hope
lessly out OF the mode. So the crack
ing OF thorns under a pot was heard
lnud and long at the Comedy while
this play was given.
Mr. Rubinstein does not control
among his gifts the hard brilliancy IT
the Irish dramatist hut h, is quite rs
disrespectful to the institutions 81 So
ciety Nothing that his play reveals
IL ham 80 true as the identity or
Jewish and Gentle character once they
are confronted with the rewards OF this
Ire. Their prejudlces, even their re-
hEons, fall in the face of the least
worthy material rewards. Everything
- sacrificed to the good things of this
IRE, quite readily and suddenly sacri-
need even after the most profound and
Lowing declarations of principle. In
sSverling this phase of human nature
Mr. Ruhinstein Is at his best.
or course there is little Illusion Of
The sun. [volume] (New York [N.Y.]) 1833-1916, 1914-10-04

Losing all self-control the press
agent allows himself fun swing in the
following magnificent pcroration.
Dancing Around Is in twelve scenes.
Several are said to be marvels OF stage
spendor Having shown a racing auto
and train. a burning ship at sea, the
sailing OF an ocean liner and other
novel effects in previous Winter Garden
offerings. the present production has
for It's melodramatic piece de resistance
a race between an express train and
locomotive and a fascinating black
and white effect.
The sun. [volume] (New York [N.Y.]) 1833-1916, 1914-10-04

it on the model. From this corrected
model the scene painters produce tho
finished setting.
From his work he might seem a
most individual artist, n man whose
achievement is built on the unhampered
use of exceptional talents. Tn reality
his results spring from definite aims
and are backed by a strict philosophy
Of his art. He Is not the egotist dis
playing chance moods"
The sun. [volume] (New York [N.Y.]) 1833-1916, 1914-10-04

Fisher, Lionel Bevans. Prenties Evans
and Theodore Won Eltz.
David Belasclo announces the opening
Of the regular Belasco Theatre season
on Tuesday evening. Then he will pre-
sent Leo Ditrichstein as a star in a new
play by Ferenc Nonar. entitled The
Phantom Rival" Mr.. Ditrichsteln has
made the American version of the play
from the original Hungarian. The play
is in three acts. The opening OF the
regular Belasco Theatre season this
year is doubly interesting since It will
serve to introduce Mr.. D!trichsteln as q
star.
For this important step in the life
and career Of this actor Of the most va
rled experience Mr.. Bslasco has chosen
play that requires just the grip on the
art Of acting that Mr.. Ditrichstein long
has been recognized as possessing to an
unusual degree. As one of the most
finished and gifted artists on the Ameri
can stage Leo Ditrichstein has achieved
a large measure of success in the plays
in which Mr.. Belasco has presented him.
Mr.. Belasco has surrounded his newest
star with a cast which includes Laura
Hone Crews, Malcolm Williams. John
/ i'euouln, Lee hliIhI, lsIId DhrCIdy, RANK
Westerron. Anna McNaughton and
! Ethel Marie Sasse.
/ Evidence" will he acted at the Lyric
Theatre on Wednesday night. The COM
pany is headed by Aubrey Smith. Con-
corning the drama the following infor-
nation, plainly intended for sentimental
critics, has been issued from the office Of
| the theatre:
I'm the announcement that Evidence,
the new drama which has just been pro-
duced out of town and is shortly to be
seen in New York, is a play OF the
heart is a double implication. The
second meaning has to do with the cir
/ cumstances under which the play was
written. They make up a story that
Is as fascinating as the play itself.
I'm the first place, 1t may have been
The sun. [volume] (New York [N.Y.]) 1833-1916, 1914-10-04

The Heart of a Thief" the first Paul
Charles Frohmln, will have its first per-
Torrance a the Hudson Theatre to-
morrow night, with Martha Hedman in
the chief part. The piece is in four acts
and as many scenes. 1t is described as
a serious endeavor ito illustrate dra-
matically local high life and low: its
matter is entirely of to-day; and Its in
tent, whatever its achievement. is to
expound certain social aspects of New
York to New York"
Twenty-Five persons make up the
company. which. besides Miss Hedman,
includes Anne Sutherland, Dan Collyer,
Paul Doucct, w. a. Whitccar. Mary
Mtmann, W. j. Kane, =. c. Foy and
others.
Martha Hedman will play Anna Stcdn-
jrn a young Swedish girl. She will
make her first New York appearance
after an absence of over a year. during
which she was acting principal parts
with Sir George Alexander at the st.
James Theatre, London. Miss Hedman's
first appearance in New York was in the
chief feminine role in The Attack" in
support Of John Mason.
The action OF the new piece runs
through a variety OF scenes. II begins
in the woman's wing of the Tombs, New
York. and continues through such
scenes as tango halls and New York
uptown apartments. Martha Hedman
plays the role OF woman driven into
thievery by the malevolcnce of others
and her immediate environment.
The sun. [volume] (New York [N.Y.]) 1833-1916, 1914-10-04

one Of the strongest dramas by Her
man Sudermann and strangely n play
never before produced in New York
stein unter Steincn" (Stone Amongst
Stones), will be the first Offering of the
excellent German Stock Company on
Wednesday night, October I.
The famous drama. play treating
the old ex-convict problem from a new
angle, made a decided hit on the German
stage. In the cast are Heinrich Mar
low, Crete Meyer. Flora Arndt, Max
Juergcns and many others.
The sun. [volume] (New York [N.Y.]) 1833-1916, 1914-10-04

late Stuart Robson. Among the new
corners arc Kitty Doner, who dances with
wonderful agility; Mary Robson, late of
THE Girl on the Film; Lucy Weston,
the English comedlenne; Eileen Molly
neuN of the Alhambra, London. and
others.
The sun. [volume] (New York [N.Y.]) 1833-1916, 1914-10-04

Al Joson, who Is returning to the
Winter Garden in Dancing Around"
recently told how when at the age of
II he ran away from home to Join a
circus.
81 had difficult time to persuade
the circus manager that | could be OF
any use, hut after dancing and turn
ing hand springs for him he decided
that | might travel, but without any
salary. | soon found that the manager
needed me very much because he soon
had me doing everything and he took
special delight when on announcing the
concert he would call particular atten-
ton TO Master Albert Jolson, champion
buck and wing dancer of the world
THE buck and wing dances, however,
ala not finish me for the day because
after the final performance l helped
pack up and then carried water for the
ponies and drove a wagon to the train
/ haven't forgotten the experiences al
though II ii came to advising boys to-
day | would certainly discourage them
from following this line of work. Cir
Gus people cover much territory and
that is about all they get. but the circus
taught me TO face an audience and to
speak lines and it was not long before /
had put together a monologue OF my
own and then armed with sufficient
nerve / broke away from the circus and
began playing dates in vaudeville.
81 always worked white face. singing
songs. telling stories and dancing. One
Monday ] was sent over to Keeney's
| Theatre In Brooklyn to report for re-
hearsal. Mr.. Keeney himself was on
the stage when | stepped up to the or
chestra leader and gave him my music
See here. young man. said Mr.
Keeney. we've got another straight man
on the bill and there's too much sing
ing. You're n Southerner aren't your
81 replied that I was and wondered
why he should ask such a question.
| "'Hou black up this afternoon con-
tinued Mr.. keeney. ard do your mono
| loRue in black face
81 had no alternative in the matter az
I needed the money, and without COM
ment made my first appearance as Al
.lolson. black face comedian, and I've
BACKED up ever since. 1t is funny how
things happen to you in this business"