New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-04-19
BEHIND THE SCENES
Elsie Ferguson on Stage Trainng-Wliam Archer on the
Tango-Pat Rooney, Jr, Acts His
Own Press Agent
Own Press Agent.

~ OH tho oDftHets which might he ap-
I'D N The art OF Mss Elsie Ferguson
,,s-s is one which VIII stand out pre-
eminent siur'y because Of its extreme
r.-i.v among the Younger actresses o.
or stage. Distinction OF bearing o.
s,ssch. OF character. are just those VIZ
ties most difficult 10 discover IN the
american theatre to-day. and yet these
vsrv virtues mark most indehbiy the
v,-t ~ this Youngest OF our American
dramatic stars. Indeed. those who have
s,.n Miss Ferguson as Iuez de Pierre
,o,, IN The Strange Woman. must
bav. recognized 10 her representation
sa-ethirC unfortunately strangely amen
70 our stage: an assurance Of manner.
certainty OF touch. the feeling that be-
hind the actress lay a hinterland or IN
limited extent n short. Miss Ferguson
tskirg herself the part Of FrencN
woman. appeared as Il she had been
sehooled in the traditions Of the Pans
Corseryato!-e. had become natural helress
o. an art which for three hundred years
Ia, placed urtanity. high breeding and
Clarity OF design before all else. Truly
n such actresses IS not the kingdom OF
Broadway
Yet 10 a Tribune representative VINO
lsst week journeyed up 10 the Bronx
Theatre where she was PLAYING, MIS-
Ferguson acknowledged that her training
he'd been entirely American. but with heT
frs words 10 became evident that she
fally understood the weaknesses OF the
a., OF acting ar il is practised On the
rest White Way Her interviewer Had
hazarded remark 20 the effect that 50
fev players to-day take any pains what
sosvs- with their dlction. Miss Ferguson,
IN the act Of putting a finishing touch
with her powder puff. became at once al
tert.vs. Her reply was quick and charac-
isristic
II is most unfortunate. the laxity or our
actors and actresses with their dicton'
she said Very few Americans pay any
attention 20 10 whatever. but this surely
ogght not 70 he the case on the stage. j
myself have experienced this. PLAYED
al one time small parts with Kyrle Be-
Jew. but somehow or other ! coulont
VII Ut ~ rEFdAf Al4DA-A4 A N'N'+~--
MY u was that ! couldn't act as well as
lots o. those who had big parts. Several
years later 7 was playing IN 'Such
Little Queen. when one night MI. Bel
lev came n GEE me After the first act
b. came rushing behind 70 see me, and
Il. frat words he said 20 me were. Why
Elsie. you've found your voice" Between
the tine he had last heard me and then
had been studying singing and work
INK continually with my voice. When
or.s come 20 ne now and ask me no"
70 improve their voices ] tell them 70 80
. q good singing teacher and have their
Fo.ces PLACED correctly.
IT has always been my ambition 10
pay hlgn comedy nut the public simply
don't want b. We i've in a crude age
az ne people want their fare Of TIE most
obvious quality. Therefore the two sorts
O plays TIA, pay are rnelodrama and
fsrc.. 40 j won't play IN farce ! must
therefore take ueiodrarna- or at least
Dana that does not rely FOR its appeal
lpon the more delicate touches wish
nings yer. different. bat unfortunately
Wsy are not
n is M ambition 20 play an American
woman, not the so-called typical Amer
f~n. BIT ,he woman who - being
evolved out o. the stress Of modern life.
At the big Uomen's parts IN the past
nave been European. ~ - tine that
hreriea came into her own. our play
Nrghts 40 get seem 10 have been I'M
able 70 nit just what / mean. They
have talent and sense for the stage
BOT they are 700 young and immature ana
Know little about llfe. OF the young dra-
r'atsts Edward Sheldon Appeals 10 me
tie most promlelcg Just ~ present
William lrcher. the English dramatic
ertc and translator u fbsen. who land
- IN this country two weeks ago Tor an