davidaulloa/AmericanStories huggingface dataset:
The Richmond Virginian. (Richmond, Va.) 1910-1920, 1916-08-09

New York. Aug. s.-Money on call
opened Ia per cent. high. 2 Ia;
low, 3: close. 2 Ia Most OF the loans
were at two. Time money quiet and
unchanged. There was fair demand
Tor industrials Rates: 3-463 per
cent for sixty daY#. 3M3 l-2 per cent
for nienty days. 8 1-2M3 IA per cent
Tor four months. 3-4 per cent for
five months. 3 $40 - per cent for six
:r10nths.
Mercantile paper was bought In
GOOD amounts
The Richmond Virginian. (Richmond, Va.) 1910-1920, 1916-08-09

by \ peroeptible dullness. Tho mar
ket is not quite as strong as 1t has
been within the last few days, but the
decline 10 regarded as a seasonablc
development. Chickens continue to
como in freely and a well-stocked fowl
market had led to some concessions In
prices. In other respects, produce quo
tations are firm. Peaches are quoted
a little higher. while certain classes
of vegetables have increased to
slight extent.
The Richmond Virginian. (Richmond, Va.) 1910-1920, 1916-08-09

Virginia Trust Co -. 100 2sS
West End Blk ....... rs ~
miscellaneous.
va.-Car. c., pfd. ..... 100 100
va.-Car, c.. com. 100 59%
Va Bldg and Loan Co 100 l05
Va. F. and M. Ins Co. rs 81
sales.
5000 Virginia Centuries, SSH.
80 Virginia Railway and Power pre-
ferred, 100.
5000 Richmond, Fredericksburg and
Potomac, dividend obligation, $40.
10 Richmond, Fredericksburg and
Potomac. common, $50
10 Richmond. Fredericksburg and
Potomac connection. 120.
Richmond Trust and Savings Com
pany i16.
The Richmond Virginian. (Richmond, Va.) 1910-1920, 1916-08-09

esptsmbsr ~ under $500 bond. with
George Bryan surety.
Henry Holt, colored. cruelty cutting
and wounding mule. fined 800 and
placed under bond Of $500 for twelve
month";.
Harrison Sales. colored. cruelty cut
ting and wounding mule; diemissed.
property valued at $2l from Lott
Swiger. four months in TAIL: appeal
noted.
Daniel Wilson, colored. wounding
Edward McGhee: placed under bond
Of $500 for twelve months.
The Richmond Virginian. (Richmond, Va.) 1910-1920, 1916-08-09
OsGSu@nf OH.

New York. Aug s--Cottonseed oil
values were marked up ten to twenty
points. with more aggressfveness on
the buying side. due largely TO sharp
advances in cotton There were ad-
syAnces in the new crude oil with
claims of &c paid in the Southwest
Onerinss In the future market were
slight
The Richmond Virginian. (Richmond, Va.) 1910-1920, 1916-08-09
Chancery Release Deeds.

John Sloan. trustee. to w. F. Eber-
man. 80 by 1869 feet on north side OF
Denny Street. 1914 feet west Of Third
Street; 1912.
Same to same, 35 by 1913 feet I
inches on west side Of oFurth Street,
1863 feet north of Louisiana Street;
s672.
William A. Snider, surviving trus-
tee. to Thomas P. Carver, trustee. so
by so feet, southeast corner OF Oak
and Bacon Streets; 1920.
NJ D. Nunnaily, trustee, to w. T.
Allen. 116 South First Street; $1,452
The Richmond Virginian. (Richmond, Va.) 1910-1920, 1916-08-09

New York, Aug. s.--United Motors
furnished a sensation on the curb to-
day. going up three points early and
holding fairly we'll through the day.
Munitions were dull
The Richmond Virginian. (Richmond, Va.) 1910-1920, 1916-08-09

Ocean Park bits are very cheap today, n
fact, Ocean Park is the best real estate develop
ment in Virginia, either for the home builder
or the investor. Ocean Park lots are hound to
increase in value The United States Govern
ment has just passed an appropriation bill OF
ST 100000 to build at Cape Henry, only short
distance from Ocean Park, fort which will
protect the whole of Chesapeake Bay. This
fort, when completed, will! represent an outlay
of 100000.
The Richmond Virginian. (Richmond, Va.) 1910-1920, 1916-08-09

Dr.. BTunsr Here TsnigA4.
Rev. Weston Bruner. D. D.. Of Al
lAnta. Ga. former pastor Of Calvad
Baptist Church. this city. VIII condu(
prayer meeting at Emmanuel Bapti(
Church. corner Pine and Grace strsst|
tonight At s o'clock.
The Richmond Virginian. (Richmond, Va.) 1910-1920, 1916-08-09
PETERSBURG PEANUT MARKET.

tReported by kodgers. Piumnsr d Co.
Petersburg, Va. Aug. 8. 1918.
sPAEISH-Market nrmers
Farmers stock. N.o2h per bushel.
VIRGINIAS--Market Quiet.
Farmers stock:
Fancy Jumbo. SIC per 1b.
Fancy handpicked, shc per ID.
Extra prime, sAc per Id.
Prime. So per Id.
Smelling stock. ave to 3Xc per lb.
The Richmond Virginian. (Richmond, Va.) 1910-1920, 1916-08-09
sugar Market.

x New York. Aug. s.--Raw sugar
6areiy steady. Centifugals. 77s Re-
hned sugar unsettled and lower Fine
formulated T.0o1T35
The Richmond Virginian. (Richmond, Va.) 1910-1920, 1916-08-09
Suit Entered.

Suit was entered In the City Circuit
Court yesterday by the Stokes
Grymes Grocery Company against the
HiIl Live Stock Company, non-resi-
dent corporation, and X. p. Hill and
j. p. Hill. The amount involved
is $500. An attachment was served
on the funds Of the defendants In the
American National Bank.
The Richmond Virginian. (Richmond, Va.) 1910-1920, 1916-08-09

GRAIN EXCHANGE.

Wholesale Quotations on Change)
Richmond. Va, Aug. s. 1915.
Farmers are cautioned not to thrash
yheat damn
The Richmond Virginian. (Richmond, Va.) 1910-1920, 1916-08-09
Marriage Licenses.


James w. Tate and Carrie V. Car
ter.
Charles " Thurston and Frances e.
Kurz. of New York.
william r. Strickland and sailie I.
Turner.
Gibson r. Baughan and Margaret
Fl. Massie.
william Howard Boyce and Ruth
Jeffries
Thomas A Burkeley and Flossie L.
Carey.
Police Court.
c. NJ Smith. speeding In automobile
and violating traffic ordinance. fined
$25.
A. O. Feitig. peddling. continued to
September IA, under $500 bond. with
W. A. Shields surety. s~@
L. C Craig peddling. continued to
The Richmond Virginian. (Richmond, Va.) 1910-1920, 1916-08-09

assfstions FusnisheA ny Woeans q
Scott. CommisstDn Msrchants.
Richmond, Va, Aug. 8, 1915.
The wholesale market from ActuA,
The Richmond Virginian. (Richmond, Va.) 1910-1920, 1916-08-09

Wall Street had TO talk little
about the railroad strike But all IL
had to say was that the quick settle
ment OF the New York traction strike
disclosed the weak position OF cor
porations and confirms the long estab-
lished Wall Street theory that there
can be no nation wide strike on the
steam roads
The Richmond Virginian. (Richmond, Va.) 1910-1920, 1916-08-09
RICHMOND STOCK MArxnr.

Spots, l<s<t; 80 points up.
The Richmond Virginian. (Richmond, Va.) 1910-1920, 1916-08-09

sl17937@7a HARRIET NONDIIIO1(A
General condition. on the yhnissala
oommlssion market today hFe mnr1eA
The sun., 1916-10-29
THE A THAT LAST.
List ms Limited Only ny Num-
her Of Available Theatres.

Tho plays that continue in New York
Theatre. Cheating Chcaters' at the
El,iuge Theatre. Turn TO the Right"
at the Gaietv Theatre. The Big Show"
a. the Hippodrome. The Flame" At
the Forty-fourth Street Theatre.
"Pierrot the prodigsl' At the Booth
Theatre, Nothing But the Truth AZ
the Longacre Theatre. THE Man Who
Came Back" at the Playhouse, polly
anna Mt the Hudson Theatre. Arms
ana the Girl" at the Fulton Theatre,
Upstairs and Down at the Cort
Theatre. HIS Majesty Bunker Bean"
at the Nstor Theatre. Rich Man. Poor
Man" AT the Forty-sighth Street Thea
tire, "Bacntire" at the Lyceum Theatre,
Under Sentence" II the Harris Thea
tre, Fixing Sister at the Maxine Ell
hot Theatre. Hush" At the Little
Theatre, 1.-THE Music Master NJ the
Knickerbockcr Theatre. Treasure
island" AZ the Punch and Judy Thea
tr.. Come Out OF the Kitchen" at the
Cohan Theatre. "ObjeCt-Matr1mony"
at the Conan IND Harris Theatre,
Major rendennis" OF the Criterion
Theatre and the Washington Square
Players at the Comedy Theatre.
The musical plays which ara still on
view include Flora Bella ut the Ca
sino Theatre. Miss Springtime" ut tho
New Amsterdam Theatre. Betty" at
tho Globe Theatre, lie Poilu" at
the Garrick Theatre, 80 Long Lefty"
az, " IAts 4
the Princess Theatre and Tho Show
Of Wonders" at the Winter Garden.
The photo play spectacles which
continue are: Intolerance" ut the
! Liberty Theatre, "A Daughter of'the
Gods" al the Lyric Theatre and The
M8suue II Life" ut the Park Theatre.
The sun., 1916-10-29

man. a straight. modern role Of about
his own age or O character only q lit
tie older. II he succeeds in doing this
1t may be that there IL something Of
self-hypnosis in It. I only suggest this
since the thing Is beyond explanation
anyway.
while I strongly believe in the
force Of ones mental will power. and I
try In that way to enter into and be-
come the sort Of man I think my char
acter is. yet I never go through any
form to hypnotic myself, nor do I
know how II can be done or whether II
can be done. Just how I succeed in
entering into the conception of on old
man and creating the illusion Of one
/ certainly do not know. ram entirely
unconscious Of any special methods.
81 have never conscientiously made
a study Of old age. At least, I don't
think 1 have ever taken more notice
OF the peculiar characteristics Of aEo
than everybody ordinarily does. and I
don't think that I know them better
than others"
The sun., 1916-10-29

the authors detailed descriptions thu
moment she first steps on tho STAGE
There's going to be a puzz OF dissatis|
faction all over the house m III
echoes are going to bc heard next day
In n hundred and one places where ie
will do great injury.
THE name OF Patricia Collinge, who
created PoIIydnnd. and who IL now
playing her, was suggested to mo ono
afternoon by Mrs. Cushing. the author
Of the play. at a moment when I was
literally at my wits end. I he'd beeu
working on h problem of selection
for days. Her name did not appeac
on the memorandum I had been Cd
carefully studying. This had been pre-
pared for me by our general stage di1
rector after every available source Of
Information had been ransackcd fo1l
h names OF possibilities-dramatid
agencies. his W memory. his pre%
cious book OF marked theatrical pros
grammes and so forth. I had added
to his list q number Of tentative rugs
gestions. but somehow mono of then1
seemed Just right. We had interviewed
two dozen or more prospective candle
dates, but none Of them seemed capa-
bic Of realizing Pollydnnd. You see I
had stepped myself in the story. and Z
had my own particular idea OF what
that young person must look like and
act like. ,
"Just how Miss Collinge came to ~
forgotten until then will always res
main a mystery. The dramatic
agencies say she didn't appear on theiH
lists because they thought her under
The sun., 1916-10-29
HOW WAKEFIELD PLAYS "0ID
MEN"
Di.cIossre From This IA mOas Ae.
tor on the subject.

II Will come az a shock to many
the~atregoers to know that David War
field. who has made such q wonderful
success in the playing OF old men
roles on the stage. declares there Is
40 art In doing so. Frequently he IL
asked about his method OF preparing
for these roles aud as to whether he
makes a special study OF old men in
real life TO aid in his p%ortrayals, and
he Is forced to confess he hasn't any.
In response to the question as to
whether It IL hard to play ibis line
Of parts. Mr.. Warfleld. who Is nightly
delighting huge audiences with his
wonderful portrayal Of the lovable old
music teacher In 1.-THE Music Master
declares It Is not hard to anybody who
10 trying.
LET him keep on" no says. That
Is the only way in which a player car
discover II he has the gift. Even
though he has not the light Of that. d.
vine spark which makes the differ
ence between a good player and a
great master, he may. at any rate be-
come a pretty good actor.
"ro ~differentiate the character from
himself" declares MIR. Warfeld, sis
the real problem that confronts ar old
actor in playing the role Of N old
The sun., 1916-10-29
THE CENTURY CHORUS GIRL.
sh~ Nust Ne . Fine and UNIQUE
Prod

With Hazel Lewis, called by Ra.
phael Kirchner "the most perfect
chorus girl Ia the world.' at one end
OF the line. and tho Honorable Helen
Scott Montagu. daughter Of n British
peer. at the other end, the chorus Of
THE Century Girl" which is to be- re-
vealed to the world on Thursday eve.
ming, Nov. ., promises to rival in In
terest md discussion the long list OF
stars whom Charles DILLINGHAM; anu
Florenz Ziegfeid. Jr., will present on
that occasion NJ the Century Theatre.
As n matter OF fact. never in the his.
7 tory Of theatricals will so much time,
labor. money and painstaking care
have been expended upon this featurs
| Of a production.
To recruit tho sixty young women
composing the several ensembles OF
THE Century Girl" has required
months Of patient and visllant ell.
deavor on the part not only Of tho
Dillingham-Licgfeld agents in this
country and in England but the per,
sonal attention and supervision oc
those managers themselves. IT has
long been a truism with Mr.. Dillins.
ham and NJ, X.egfell rs Individual
managers tIot the worth OF n musi.
cal production L. never greater than
the face value OF It's least important
chorister. with the result that tho
Nottingham Chorus and the "Zieg.
field Girls have become established
institutions.
The Century Girls" a. tho chorus
OF the big playhouse in Central Park
West IL destined 10 he known, repre-
sent the beauties culled from Mr.. Dill
linsham's and Mr.. Ziegfeli's con,pa.
MES. supplemented by a larsS number
OF young women FOR whom their ap-
pearunce in The Century Girls Will
bo in the nature of a debut. as we'll az
several wcil-knoWn London stage Ia.
vorites from the Gaiety and Alhambr.
theatres. TIL. qualifications for al.
mission 10 tho Century chorus wero
prohibitive 10 hundreds Of young;
women who would tind no difficulty i'll
getting positions in tho chorus OF tho
average musical rroductions.s Not
only was the candidate obliged to iii
the eNacting requirements OF Mr.. II.
phael Kirchner's rarcilcd ideal Of clio
rus-girl beauty beauty which ~.
cludes an ensemble OF face, figure, eX.
prcssion. complexion and muscular
grace-but she had to he able to eivn
a satisfactory demonstration OF he.
vocal abilit!es and of her understand.
ing Of what constitutes drawing-room
manners.
quito as important Ms her ability 4,
eing the tuucful score which Victor
Herbert and Irving Berlin have writ.
The sun., 1916-10-29

There nave been ui course play in
pose. On has laughed at the revela-
ton OF character under the influence
Of death. In Adolphe Belot's lie
Testemert lie Cesar Godelot," which
Is now the oldest of those dramas. It
is possible to be ironically amused at
the talk Of the characters. In Les
Ccrbeaux," by Edmond P~ailleron,
there 10 soma incitemen. to grim
humor In the scramble for the money
that should 20 to the widow and the
orphans. Clyde Fitch had similar
amusement IN the first act OF
The Climbers" n the same kind Of
enjoyment IL TO he had from Pinero's
The Thunderbolt.'' which derives So
plainly from Belot's play.
But in ali these cases the hunor To Ia
found In the consequences OF death was
ironic and c~ontemplatlve and the re-
suit of death in developing the traits
either good or bad Of a human charac-
ter. But to use death as the means OF
causing constant laughter In a musical
play. alternating London taps and
widows In their weeds. %syncopation and
~pallbearers, Ia to attempt a difficult
task. But come to think Of II, tho first
The sun., 1916-10-29
THE CANs1N0s OF THE DANCE,
They ssppIy Local Colsr at s'rhs
Bell Ring."

Elisa and Eduardo Ca~nsino, the ven.
s%ational Spanish dancers who are APP
pearing in THE Bull Ring at Castles
In tho Air, atop the Forty-fourth'
Street Theatre. are the children Of
that famous Sevillian dancing teacher.
Antonio Cansino, who for many years
has conducted a well known dancing
school in Madrid. While at n tender
axe. they were discovered in Andalu-
sia. Seville. and taken TO the Spanish
Alfonso XIII.
There they. in turn. were discovered
by Mrs. S~tuyvesant Fish. who brought
them to this country In the SUMMED
Of 1912 to dance before Newport go
ciety. Their success was so instan-
taneous hat Martin Beck engaged
them for vaudeville and last season
they achieved n remarkable triumph
as headliners over the Orpheum cir
cult.
Among the novelties which they
are exploiting in THE Bull Ring Is
The Malaquena and Bolero," the
! dance Of victory. This dance origi-
mated IN Malaga In celebration Of the
successful killing Of the bull and -
still performed in the Spanish coun-
tryside. Cleverly played castanets
r~hythmically accompany tn evolu-
tons OF the dance.
With fidelity to detail the C~anslnos
also present other dances that are a
part Of the national life OF Spain and
Latin America: and Spanish dancing.
az most every knows. Is q par
ticulerly exact art. The technique Of
the Russian ballet and of the French
classic dance, kept inviolate by acad-
en- Lies that exist for no other pur-
pose, Is no more rigid and !nvariable
than that OF the Spanish dance. The
requirement OF proficiency such as The
/ Cansinos show IS not q matter Of &
couple OF expensive h~alf-hours under
the guidance OF an . 1berian master.
| These dancers have been at II all their
lives. and then remember they had q
dancing ancestry.
Like all Spanish dancers who cling
60 the traditions Of their school, the
/ CauSinos do no work on this points of
| the toes-the essential characteristic
OF the French style. This Is not be-
cause they would find Il difficult To
master the technique OF this particular
step. hut rather that the Spanish
tradition does not recognize Il.
The averaSe persoH'S Idea OF Spanish
dancing If usually expressed IL terms
| OF the castanets. AZ Il matter Of fact,
~castanets are used In only n few of
spain's dances. and those OF the more
stately and classical forms, which de-
pend for effect more on arm than foot
motions. AZ they take their dancing
seriously. the Cansinos have never at
tempted to gain local color at the ex-
pense cf truth to detail.
The sun., 1916-10-29

the fugitive there is only pity in the
heart OF the n partner for his friend.
X. e. Megrue was the author Of this
fine scene and It's amusing climax.
And all tho splendid forgiveness and
heart of the man for the father are
echoed In the apologize words:
Have a Bismarck. Abe" as ne
draws from his pocket HE favorite
cigar.
II was such moments a. this In the
nrst play about the immortal pair that
endeared them to the th%eatregoing
public. II was not merely because
they we're laughable that the two with
their friends were 30 long IN the favor
OF the public. They were lovable In
their shrewdness and in their gener-
osity to n another.
But there are unfortunately none OF
these qualities In "Object-Matrimony.'
Which was seen the other night at the
Cohan & Harris Theatre. In that brew
Ing from the old leaves the heroine
deliberately plans u betrothal and
abandonment in order that her lover
may reap the beneht Of the financial
repute that comes from his engage
mont to a rich man. Tho girl IL Of
course made the innocent victim of this
plot, which she has not in the least de-
served. merely because she happens "a
cat and grow fat and possesses q IA.
Their eager to ind a husband for her.
OF course for . hero who allows him
self to be placed In such a light and for
a heroine who contrives II there can be
no sympathy. Indeed, there Is scarcely
tolerance.
So in place OF the business honesty
and the war; humanity Of the earlier
cycles Of the Potash and Perlmutter''
saga, there IL such a trick as the be-
trothal to raise suficient money to pay
the debts Of the business. II there
va a play with such characteristics
In its two leading figures ever won the
favor of the public. II Is unknown to
the writer. Out Of the present play
Of Jewish life at tho Conan 4 Harris
Theatre there survives only the vul-
garity that was in a greater or less
degree to be found In all of them.
Death as the subject OF farce was
inevitably suggested by the produce
ton of go to It" at the Princess The
atre since the piece IL a new version
Of "A MIX White Flag" by Charles
Hoyt. It happens that this play en-
joyed a comparatively brief term of
popularity because American audiences
will not laugh over death az the sug-
gestion of a comic play even when II
IL only a pretended death. or course
1t is all make believe in "Go Il IT,"
But all che outward and visible signs
of a death are supplied by the mourn
inG, the flowers ana the undertaksrs.
The sun., 1916-10-29
ON CASTING PLAYS.
George &. Tyler Explains Tbis Iai-
pOrtant Process.

Picking q cast for a play like Polly
anna" which ia n dramat.zation OF a
best seller, Is one OF the hardest tasks
n theatrical producer Ia called upon ~
perform. according to George G. Tyler,
tho man behind" that nar-tcular
piec,.
Casting an ordinary play properly
Is difficult enough" said Mr.. Tyler the
other day. but when It comes to Sc
Letting players for the decentralization
OF a story which has sold into the
hundreds Of thousands o are M
against n mighty troublesome PROPOSE
ton, one that will give you many a
wakeful night II you're OF the worry
ing kind.
THE thing that stares you In the
face constantly Is the realization that
myriads OF prospective theatregoers
know all about your characters al
ready, and that their im~aginations,
helped out by the authors elaborate
descriptions. have made living reali-
ties OF them. You "a scarcely hope
TO realize all the ideas Of these read
ers, but you've got to come pretty close
to 1t or you're going to have thousands
OF tremendously disappointed patrons
whose interest Is going to lag and
whose enthusiasm IS going To wane
the minute your curtain goes up on
the first act.
In the case OF the ordinary play
the description furnished you by the
author Ia usually very concise and Il
Is not generally overwhelmed with de-
tails. Enter Helen It may read. she
IL a charming girl Of a. Now. charni-
ing girls of % are not uncommon on
the stage, There are generally two or
three OF them sitting In my other
office waiting to be told that I'm sorry,
but there isn't any opening Just now
When Helen Is finally chosen and
! when she walks on h stage she faces
a group OF spectators who have no
| preconceived notions about her that
may interfere with her efforts to make
a real person out Of the young lady In
their eyes.
"But II 800 or 400 persons In the
audience know everything about he,
as they know about pollyanna' II I,
going to be extremely difficult for hel
to make good II she doesn't Tive up Il