davidaulloa/AmericanStories huggingface dataset:
The sun. [volume] (New York [N.Y.]) 1833-1916, 1914-01-11

What do | think about the posi-
bility of ever restoring tho repertoire
system in first class New Yorl;
theatre" Do | believe that II can ever
be done" David Relasco repeated The
SrN reporters questiors. Then ne
went or:
Il don't. The repertoire system is
To my mind "a thing of the past in 50 far
as a first class metropolitan theatre Is
concerned. II IL AN anomaly. just us a
horse car il TODAY. Thirty years ago
when | first came here from San Fran
cisco 10 associate myself with the Madi-
son Square Stocli Company Broadway
was full Of horse ears. They both be-
long to an epoch thut Is past and gon,
and neither. | believe, could bc revived
for the reason that the conditions under
which they were possible at that time
have now ceased to exist.
"What do / mean by this" he again
repeated.
81 mean that we have grown into II
wise and sophisticated theatregoinp pub
lie. We have lost our righteousness.
We are harder to please, harder TO
amusc. harder 10 entertain than We were
In the good old days.
ITO get an idea OF just how far and
how fast We have moved thcntrically
and how practicable impossible II would
The sun. [volume] (New York [N.Y.]) 1833-1916, 1914-01-11

1t must have been the sensltivensss
with the success OF j. VI. Barr!e's The
Acored one" which 81 now 1T the En-
pire Theatre ~ THE Legend OF
Lconora.' \ similar objection t. wit
Messing 50 near home an unpleasant
picture OF London life presented the
success on its own stage OF one of
Henry Arthur Jones's best plays. This
was The Rogues Comedy" II was an
admirably truthful and humorous pic
ture of London society, ending finally in
tragedy just IA the progress through
life OF tho shady fnanciers whose lives
II was supposed 10 depict. Acted at
Wailack's by f.. $. willard. II turned
out 70 be one Of the most brilliant per-
forTnances the actor had ever given In
his career and the mordant satire Of Mr..
Jones's comedy delighted the public.
But I'm London the drama was rejected
without d hearing. Il was too soon
after tho career Of Barney Barnato for
London to enjoy the sight of one OF the
financiers III whom II had trusted living
before II on the stage. Some such sem
si,ivencss must have interfered with
THE Adored One in its first incarnl-
ton. Whatever the cause OF its failure
there may have been It is certain that
The Legend Of Leonora" with Mrs.
Patrick Campbell in the role acted by
Maude Adams AZ the Empire on Mon
day night must have been something al
together different from the delightful
fooling that New York has been invited
to witness.
The sun. [volume] (New York [N.Y.]) 1833-1916, 1914-01-11

the streets with Heege's wife and child
IN order 10 make sure that my rcal
Identity would never be suspected. On
one occasion Heege himself was in CON
dillon to play. but the manager of the
theatre wouldn't stand for IL. He in
sisted that Heegc was the understudy
and l had to play the part to satisfy
him that he was getting the genuine
star"
After these experiences a. an actor
Mr.. Huffman took control Of tho Grand
opera House stock company in Pitts
burg, which ne made d notable organi-
2ation. He continued With this company
for nine years putting ON everything
from small dramas to sprCta",rs re
quiring tho presence uf more than 500
people on the stage. The important
New York managers used to g. there
often. Many OF the productions of this
period came from the Grand Opera
House. Henrietta Crosnan, Madgc
Carr Cook Eleanor Robson Hugh
Ward. Robert Mautcil. Amelia BinE
ham ana other players appeared witt
this COMPANY.
Il was after his reputation A. a pro
ducing stage director had been firmly
established in HE manner that Hun
man came back 20 New Nur. some
eleven years ago. frs go wo-i. Tor Klaw
* t.rlange~ and then % become a9~'-
ciatcd with the Mcssrs. Shuh'rt.
The sun. [volume] (New York [N.Y.]) 1833-1916, 1914-01-11

commander. Al the age OF he ran
away from home - join Il company OF
repertory players. lie was so AFRAID
that h. would be found ami taken home
and .hen prevented from acting that
he changed his name mauv times. He
did not return 10 his family for eight
years. His work with the first COM
pany he Joined consisted ~ playing
the organ before the rise pf the cur
tain. then assuming the child roles in
the plays. He had all manner ~ cN-
traordinary experiences IN those or
CARNATIONS OF strolllng players, drift
IN; from place 10 place and playing or
trying 10 play almost everything and
anything.
Al times this genuine boy had bad
luck. He would bc reduced from play
ing IN Shakespeare To- working in side
shows With CirCuses and fairs. 81 one
fair he was appearing in sid.show
when ne saw his father riding 10y At
the head Of a procession. He managed
to jump off the barrel or which h. was
standing IN the nick OF time, and while
his father was passing. He was with
the first company 70 invade British
The sun. [volume] (New York [N.Y.]) 1833-1916, 1914-01-11
MIR. Belasco Discusses Stock Companies

manager would have 10 pay 10 last as
high royalties To thu author as any
other manager. Authors ROYALTIES 70
day ar, large. The days are gone when
any one MANAGER can munoppli2e the
produce of the foreign drlma'lst. When
Mr.. DAILY VAS alive ho bad practically
a monopoly Of the German play. Ia
the absence of anything clro frat was
new he could always count upon draw
iug on GorUanN~ for fresh material.
which material ln wa. uh., \" get on
reasonable enough royalties 70 make its
production profitable This Nj DAILY
could not possibly do To-day
To-day "" condemn is SEQ much
'mush' the dramas over winch So Wept
cnpiously twenty Years aGu. w de-
mand stage s,ttlnGs wia'n a", ruc Ju
lie ana 10 the pcriod represented. We
carp al any attempts To- lower 'Ais
standard. What. then. Would -, say t.
1. revival Of the stock scenery II vogue
in al the repertoire theatres " hav"
just been discuss r%2 Al the Madison
Square. at Dsly's ana a. NailGcls's th,
scenery. tie -tuC" srjtinE-, the ward
rlhcs were to- much % part .' Ill' stuck
company rs tlr actor, Themselves. \
drawing room set which did ice on'
week IN she St0ops To- Conquer m,
very next wcch would peruap' i' used
in German farce or Il French drama
II was a matter of course. 80 TOGO with
the acting Whore can a manage mus
ter u first clgss aud'nc, to.otN who
viii stand FOR the necessarily hastily Re.
hcarsed repertoire productions To-day
Wa spend weeks. sometimes months, In
rchcarSipr d s'Nri, productions md Ee'
The sun. [volume] (New York [N.Y.]) 1833-1916, 1914-01-11

y" for Us 20 try to restore the stock
company sysJ ON, which 70 so many or
us has become almost a fetch Let us
consider some Of the Ia IS ana figures
relating to that system.
First there was the absence OF com
netition. During the NvydeN of their
success the stock companies AZ the
Madison Square, a. WaiiaCk'S at Days
and III" Mon Souar" had no rompeti-
tors. Nowhere else III town outside these
theatres could one SEQ Legitimate drama
played 10y Legitimate" actors. broadway
and the Fort!"s were then not full Of cN.
persive theatres, producing expensive
plays. acted 10y rAp"HstY" companies.
There was Nihlos. where one could go
of an evening and -" leg show. plays
like Tho Slack Crook or there was
Tony Pastors. ar the London, II one
felt In the mood for hug!esque Hut
these rivals to the legitimate were not
10 be- taken seriously, ana certainly they
did not handicap the success Of Angus
tin DAY and Lester Wallack.
"Eithsr Of these men would find con-
ditiong which in their lifetime they could
scarcely have imagined. one of m"
most vital changes is the increased sal
AIRY list which the manager OF to-day
has to pay. What he stock company
manager paid Tor his crtir" cast tnc
manager Of TO-DAY frequently PAYS TO
the star alone. And tner" - Ia the
support Of thar star 4 more or les nu-
mcrous company of actors mos 90 them
receiving salaries which would have sat
isiied the famous star Of several genera
lions ago.
Thus iOr economic iraSonS the stock
company revival IN a first class theatre
is almost on; uf the question. To xiv"
the sort ~ entortiium" Il m" puhlic has
learned 10 appreoia D." and ahich Il.
would "a. the purpose % thu resuscitated
reporters System 90 proyidD--tp 90 this
to-day wou.d require the expenditure
of such all amount OF capital as no
manager could possibly command
"Neyt IN importance Is N" scarcity
of GOOD new plays. ~ Course roper
toiro company would have access to the
treasures OF the classic drama, In the
course 81 the yea- there would Dc pro-
duced series Of suCu plays as The
School for Scardsl, The Rivals and
She Stoops 10 Conquer There would
always he Shakcspearian offerings. If
the revived repertoire system Is to have
vitality and lasting vlSor enough good
new plays 10 attract the general thea
tregoiug pubic would have to be as
surod To got these tho stock company
The sun. [volume] (New York [N.Y.]) 1833-1916, 1914-01-11
The Novelties of the Coming Week.

man the two are finally pitted directly
against each other.
For the proper Interpretation of tho
kalman music Mr.. Savage has engaged
r. company which includes Mizzi Hajos.
Van Rensselaer, Wheeler, blanche DUFF
field, Harry Davenport, Charles Mea-
kns. j. Hambird Duffey. Wilmuth
Mcrkyl and number Of others Of
firmly established reputation.
William A. Brady and George Broad
hurst will present at the Maxine Elliott
Theatre IA comedy by Walter Hackett
called Don't Weaken" In the conf
pany are Earle Brown, Robert Kelly,
Wallace Worsclcy, Renee Kelly and
Marion I.orne.
The sun. [volume] (New York [N.Y.]) 1833-1916, 1914-01-11

yer seemed suffIrieutIy practical 20
he adapted t. general needs: 50 he
should be grateful to the German who
pat them into use. Against :. luminous
background the princess. obsesscd with
the demand for her sultor's real name.
* pursued IN her visions by the Italian
munmers and her handmade. Up the
hi! the seven dash. outlined against
the sky. When they descend It H. with
the intermittent lash Of some subter-
rancan fame that their faces are so
lit that they are visible TO the specta-
tors in ill their irony and "reminiscences.
II Is a part of the wisdom OF the man
dar,ns in the theatre that such man
ner OF producing dramas suits only
those conceived ana performed in u
fantastic spirit. They wisely observe
that such would no; for instance be u
proper way IN which To act the plays o,
Shakespeare.
II the manner Of showing the fleeing
princess and her pursuers would not be
q splendid way OF revealing the witches
in Macbeth" we don't know how Il
could be improved upon. And the
sooner Intelligent stage managers come
to conceive the plays OF Shakespeare
as fantastic and to bc produced only in
an imaginative way the better II will be
for the popularity OF those dramas. II
there is anything but fantasy IN the
best of them for US to-day We should
like to know what 1t is. Their lessons
Of life would be made more vivid by the
intenser feeling Of imagination and un-
reality which the modern stage man
ayers impart TO their scenes.
1t is ut all events encouraging that
the latest lessons Of the stage artists
have finally been needed IN our theatres.
At last It has been possible to observe
on our own stage a phase of the art
that has interested foreign connoisseurs
II the theatre for several years. "A
Thousand Years Ago" will always
possess this distinction in addition to
its others. In 1t was our own theatre
The sun. [volume] (New York [N.Y.]) 1833-1916, 1914-01-11

There is in the play union OF ian
guage and scenic investiturc which adds
to its generally admira Die characteristics.
Mr.. Mackayes verse does not glow with
romance and much OF II is altogether
commonplace. Nobody could say that
however. Of his humor. which Is a fear
full and wonderful literary thing and
altogether his own. From It's least dis
tlnruishod speech the text ascends to
such graceful heights as the lines that
follow. It is the Cdiaf disguised as til.
mcndicant lover OF TRrondot who says:
II hear you. yet
hes. like one WHO dies out on the
desert
And dreams he hears sweet water tinlS
ling. Iauv.
I parch and drink dream water Would
you dash
That boon from my souls lips?'
1t Is the first of her riddles propounded
to this determined sutton which II framed
in words as gently imaginative as these:
Tell me- . Friend. What liz that Flower
Which, dying. steals It's Lovers Breath
And being dead. still blooms IN Death,
Living beyond it's little Hour
To grow more sweet in Fragrance as II
grows in Memory"
IL is the essentially modern struggle In
the sleeping room of Cd'af. however. that
has suggested to Mr.. MacKaye rhe least
difficult OF oil his speeches to listen TO.
From the minute In which the prince seizes
Turandot, who. disguised as Harlequin,
comes to find out the namo OF the sleeping
prince, there II the blood Of something
like poetry In the veins Of the dialogue.
Thus the prince begins his apostrophe OF
love:
"Who would not dare"
Infinite Ages climbed TO this Moment.
Infinite Ages shall sing after II.
] stand here on its Peak To make II
mine"
one Is almost tempted to find more
The sun. [volume] (New York [N.Y.]) 1833-1916, 1914-01-11
~ LAwRENCE hlAMLN.

4 LII that is best IN the prospecting
~ one Thousand Years Ago" at
tho Shubert Theatre comes from
the genius OF Max Re.nhar,lt
and in It's points OF departure from the
Methods Of that German genius the
production Is least satisfactory. 1t Is
N the effort to combine the directness
% Reinhardt's style With the elaborate
ness that IL here regarded as ind!s-
pensablc TO effectiveness that the
scenic means of the new play are least
satisfactory. One instance OF this &C.
ours in the princess's room. She Is
served by half a dozen handmaldens,
who sit about quite in the fashion vi
chorus girls and evidently agree with
The stage managers idea OF the necos-
AIRY numbers. AS matter OF fact. the
left to the two principal characters and
would have been more effective with
these figures visible.
So completely artistic IL the dispo-
elton of line and color throughout the
performance that 1t is entirely perinis-
s!oie TO hate the background on ihs
pr,ncess's retiring room. which Is a rep
resentation OF al gigantic pin wheel
whirllng somewhere into space with an
overmastering sense Of speed that
makes tho spectators seated near the
stage OF the Shubert Theatre clutch the
sides Of their seats. This background
alone OF all tho paintings shown
throughout the play violates the sense
Of aesthetic pleasure. Luckily the light
soon glowing behind II blinds the audi
snce to the horrors OF that whirling
chrysanthemum, or pin wheel or what
.ver Il may be. to illustrate In the prin-
cess's drecm the most effective pictorial
qualities Of the play.
It may be tina. Max Reinhardt took
he idea OF the silhouette from Gordon
Craig, although none OF the ideas OF
Gordon Craig, as ne expressed them.
The sun. [volume] (New York [N.Y.]) 1833-1916, 1914-01-11

Thomas W. HyIeys new musical
comedy, The Queen Of the Movies" will
20 seen on Monday at the Globe Thea
trc.
In US original form II is known AS
Die kno-Koenigin." Of which 'The
queen Of the Movies" Is liberal trans
,at!on. The book and the lyrics Of the
original operetta IRE by Julius Freund
and Gaorg Okonowski. Glen MacDon-
,ugh has taken the German book and
ms adapted II for the American stage.
The music Is by Jean Gilbert, the Ber-
n Composer who has won such sudden
Ene and popularity abroad. At present
e has three musical comedies playing
h Berlin-"Die KinO- Koenigin," Pup
aen" and The Tango Princess"
The principal parts will be taken by
F'unk Moulan, Valli-Valli, Alice Dewey,
Janette Horton and Dan Coliyer.
omar Khayyam, whose verses are SO
familiar. will be the central figure In
"opar. the Tentmaker." Richard Walton
Tufys new Persian play, In which Guy
Bates Post comes to the Lyric Theatre
Tuesday.
The story Of "Omar. the Tentmaker'
begins in a rose scented garden. Omar
the student. has fallen In love with
Shireen. the beautiful daughter Of the
Holy Imam. his teacher. A messenger
comes from the Shah Of Shah. asking
10. Smreen as his wife. Omar. CEN
turtles ahead of the age In his Ideas, res
sents the tradition that no who loves hut
tho ona woman must sacrifice her be-
cause q the custom that she must 20
to an already overcrowded harem Of q
toothless old man. With the plea that
there Is no tomorrow he takes Shireen
from her home. but tho next day she
has TO go to the Shah. In the next
scene Omar In living In Naishapur. next
70 tho tavern. He believes that Shireen
= dead, but he protects her daughter
The sun. [volume] (New York [N.Y.]) 1833-1916, 1914-01-11

Columbia. There Indians and soldiers
We're the main part of the patrons.
When | was only 15 years old
had the experience Of playing twenty
eight parts in th.rty-o one days" says
Nr. Huffman. AT this period 7 was
playing the leading male roles in Wilbur's
Dramatic Company Wilbur.
not the one OF operetta fame--and Julia
Arthur vas the leading woman. She
was as young a. |. | remember once
that We played in Los Angeles and Ed
win Booth and Lawrence Barrett. who
had been in the audience. came back
to see us after the performance. They
We're astonished 10 see ma in short
trousers and Miss Arthur in short
skirts; in fact they almost refused TO
believe that We We're the leading art
ists 90 the company and ind been
playing all the dramatic and emotional
roles. They gent us both boxes OF choc-
platos for presents. Another member
of that company Wa Richard Gam
thony. who later became q playwright.
He mad charge of the wardrobe and
often used to make the costumes him
self
After these experiences ] came to
New Yorl; and got Il position as stage
director for the late Jacob Litt. His
main star was Gus Heege In "Ypn
YOnson." This star and this play en-
j,yed phenomenal popularity HceEe.
whose name was essential to the enter
prise, had unfortunately become a
heavy drinker. II was on tina; account
that rne J. c. HUFFMAN disappeared
from the face ~ the earth Tor nearly
four years. Huffman became HccSe,
! played his role all over the country.
often he was not anywhere near the
company. Eventually I played it al
most all the time. 7 used TO 90 on
The sun. [volume] (New York [N.Y.]) 1833-1916, 1914-01-11

Because of his liberal religious attitude
protecting Christian knight. who loves
little Shireen. he Is cast into prison.
Mr.. Post has already made Il short
tour with the play, appearing in
various Northern cities. Reports are
that no and "Omar. the Tentmaker"
met with cordial reception. The pro-
duction is in three acts. a prologue and
an epilOgue, all In rich Persian setting.
In the cast supporting Mr.. Post are
Lee Baker. Fred Eric, Roberto Deshon,
John Hunter Booth, Fl. G.. Carlton,
William ID. Emerson. Augustus Post,
Forrest Macomber. Janc salisbury,
Louise Grassler. Blanche Frcderici and
Margaret Vale.
"Sari." Henry w. Savages first new
production Of the season. will be shown
at the Liberty Theatre Tuesday. ''Sari"
Is an English adaptation OF Der III
geunerprimas," the Hungarian 'operetta
which has been one Of the distinct sue
cesses Of the past season IN Europe. In
Vienna It's popularity was great enough
to Justify simultaneous performances in
two theatres--in German at one and In
Hungarian at another. The music IL by
Emmerich Kalman, who wrote the score
OF "HerbtsInanover" presented In this
country by Mr.. Savage with the title
1.-THE Gay Hussars) and der Kleine
KoenIg." Tho original hbretto was writ
ten by julius Wilhelm and Fritz Grum-
baum. The English version IL by c. c..
8, Gushing and 4. p. Heath.
The story OF "Sari" has as it's in
spiration the German motto "Jugcnd list
INNER seigrich"-"Youth Is ever victo-
rious." It concerns itself with the con-
fiict in the fields Of art and love waged
by u celebrated Hungarian violin vir-
tuoso and his son. Tho action moves
from the Hungarian village home Of the
principal figures to Paris. whore during
a eoirec at the home Of a French uoblc-
The sun. [volume] (New York [N.Y.]) 1833-1916, 1914-01-11
NOVELTIES OF THE WEEK
New Music and Drama to Be Offered

MONDAY - Globe Theatre, The
Queen OF the Movies" English
version by Glen MacDonough Of
% die Kino-koeniein."
Thsiis Theatre, Mimi Aguglis in
repertoire.
Casino, High links" from the
Lyric Theatre.
TUESDAY-Lyrie Theatre, Omar,
the Tentmsker." play BY Richard
Tully. with Guy Post in the leading
role.
Liberty Theatre. "Sari." operefts by
kalmsn, produced BY n. w. Savage.
WEDNESDAY-Maxine Elliott Thea
ire, Don't Weaken" comedy BY
Walter Hackeu, produced by ". A.
Brady.
THURSDAY--Opening OF the rolies
Msrigny atop the Forry-four'h Street
Theatre.
The sun. [volume] (New York [N.Y.]) 1833-1916, 1914-01-11
STAGES OF A STAGE MANAGER.

Development Of j. q. HuHman's Art.
John u, Huffman. the general stage
director for the Shuberts, who staged
- Thousand Years Ago" had attained
his recognized leadership after work
and experience
He was born in Toledo. Ohio, the son
Of Gen. Harrison Huffman. a civil war
The sun. [volume] (New York [N.Y.]) 1833-1916, 1914-01-11

poetry IN the Verse ~ Nj. MacKaye
than possibly resides there after a visit
to the Booth Theatre to listen 20 the
flights " Laurence Housman N 'Pru-
nella.
The sun. [volume] (New York [N.Y.]) 1833-1916, 1914-01-11

first brought into sympathy with the
newest thought of tn. artists % IN,
stage in other lands.
The gazette-times. [volume] (Heppner, Or.) 1912-1925, 1914-04-30
Water Hemlock Poisons Livestock
Cases Of Poisoning Reported in Both Oregon and Washington
Scientists Work in Colorado

n LTHOUGH the roots of the plant
~ known as the water hemlock"
contain deadly poison, its tops
and seeds in hay will not harm cattle,
according to scientists of the U. s. de-
partment of agriculture. These scien-
lists, whose speciality it is to investi-
gate plants from which drugs and
poisons are taken, have been compil-
ing data on this plant, which is one
of the most deadly known in America.
Besides its scientific name "Cicuta"
and its more popular name water
hemlock," the plant is known in var
ious localities as "cowbane," wild
parsley" "snakeroot," spotted hem
lock- "snakeweed." and beaver pois-
on In New Mexico it has been
known as ''pecos." The plant has also
popular German names, as it is found
in Germany.
Grow in Wet Places.
The plants grow in wet places such
as swamps and irrigating bitches in
nearly all of our Northern and West
ern states. When the root of the plant
is cut open drops of an aromatic oil
are seen. These give the root a Pc
culiar odor and are popularity thought
to be the source of the poison. The
poison is indeed in the root, but is Sc
creted in the form of a resin which is
distinct from the oil. Although the
poison is most deadly, the fact that it
Is confined to the roots rather than ex-
tending to the tops and seeds accounts
for the fact that it causes but COM
paratively few deaths. The total loss
from such weeds as loco" and lark
spur is much greater.
There have been relatively few hui
man beings poisoned by this weed in
America. Most of those afflicted have
been children who have been poisoned
in the spring when the dangerous ele-
ment in the plant seems most active.
Cases of such poison are recorded in
Maine, New Hampshire, Massa-
chusetts, New York, New Jersey,
Pennsylvania, South Carolina, Ohio,
Kentucky, Illinois, Indiana, Michigan
Wisconsin, Minnesota, Iowa, North
and South Dakota, Arizona, Nevada
and Utah. The total number is very
small, five cases. for instance, having
been reported in one year in Mon
The gazette-times. [volume] (Heppner, Or.) 1912-1925, 1914-04-30
(Paid Advertisement
TO THE DEMOCRATIC VOTERS OF OREGON

On April M 1914 after twelve other asprans
candidacy
squarey declared firmly
asked by submit platform
f
would submitted which in
and
finally decided and
elected shall be
counsel wisdom,
fully
know this been % /
mated and elected
in
in
swilb
a
the
The gazette-times. [volume] (Heppner, Or.) 1912-1925, 1914-04-30
NATIVE OF MISSOURI

rs, 1873 in
n
Cobb
to
at
two
all the
Realizing do the importance
candidate but
knowledge
ideas me that
f would candidacy
platform that they would undivided sunnor
appealed
they would also
Trusting that find Greater
ofesoh G. A. COBB