The sun. [volume] (New York [N.Y.]) 1833-1916, 1915-09-12
At the Sign of the Triangle


Raymond Hitchcock, Douglas Fairbanks,
Dustin Farnum, Mabel Normand, Mack Sennett,
Fred Mace, all in one bilp-
What sort of a combination is that?" asked a
man who read the Triangle announcement last
week. "Just look at this" he continued. Frank
keenan,, Eddie Foy, Lillian Gish, Rozsika Dolly,
Wilfred Lucas in another bill; Billie Burke, Bruce
MacRae, Helen Ware, Tully Marshall, Joe Weber,
Lew Fields in a third entertainment, and so on.
What are they trying to do? Mix up the tragedians
and the comedians, the buffoons and the farceurs,
the light sentimental and the historical-pastora
the twinkletoes of musical comedy and the reverie
of the thinker?"
No, the TRIANGLE FILM CORPORATION
for the opening of it's new policy at the Knicker-
booker Theatre, New York, beginning Thursday
evening, September 23rd, is not trying to tumble
the talents of it's many stars nor the diverse plays
which it will present.
Let us illustrate what is being done by a glance
at stage history:
In the golden days when Kemble and Kean,
Macready and Mathews illumined the stage, pa
irons repaired to Covent Garden or Drury Lane
early in the evening. The bill was introduced by a
curtain raiser. There followed at about $50 P. M.
the piece de resistance of the evening-an elabo-
rate drama, some masterpiece of Shakespeare or
Sheridan or Knowles. Then a merry farce or a light
afterpiece closed the varied entertainment of the
evening.
Nobody thought the bill too long, because every one was
privileged to see as much or as little of it as he wanted to.
The tops in their sedan chairs came from Whites or Al
macks to while away a couple of hours looking at Edmund
Kean as Shylock or the Moor. Milady left the dance or the
drawing room to appear at II o'clock and laugh at the farce.
Diverse forms of art do not interfere with each other
Wnen SHOWN separately and not rudelV cOmmingled in anv
one play. The experienced theatregoer loves them ALL In
the golden days all were offered to everybody practically
nightly. Among the many misfortunes incidental to the de-
cline of stage art is this falling away from old ideals. One
play, one meter at a single theatre has become the rule.
TRIANGLE PLAYS will change all that. In a single
evening patrons will be able to see:
A matinee favorite like Dustin Farnum in a great love
play (ths time an Alaskan story entitled "The Iron Strain"1,
The quaint and satric comedian Raymond Hitchcock
in an uproarious farce, my Valet Qike those famous things
that Charles Mathews did, supported by Mabel Normand,
Mack Sennett and Fred Mace.
Douglas Fairbanks, most energetic of youthful heroes,
in The Lamb" a wonderful adventure story of the South
west and of Mexico.
Each of the three entertainments, complete in itself:
each in a different key; the three harmonizing with each
otner, SO that gay succeeds grave, and laughter follows tears.
And so with the combinations of the later weeks. Roz-
Ska Dolly will dance her way into the hearts of admirers in
a bohemian play the same night that at another hour Frank
Keenan will reveal the strong emotionalsm of "The
japes to the exploiting of "A Favorite Fool"
Still again, Billie Burke is to shine in Scottish connolly
on an evening when Tuny Marshall will also be seen in a
great crook drama, and later, Weber and Fields in some of
their characteristic antics. 1t will be fine to have the roman
ticism of Orrin Johnson in "DArtagnan' as a foil to the
humors of De Wolf Hopper as "Mr. Pickwick" the tragic
mastery OF Mae Marsh to set off the clever detective cunninq
of John Emerson or the intrigue of Frank Campeau.
The stage should mirror life. For the first time in recent
stage history it seems to be reverting to its function of por-
traying life in the large.
And lit is the motion picture art, the screen art, which is