davidaulloa/AmericanStories huggingface dataset:
The sun. [volume] (New York [N.Y.]) 1833-1916, 1916-05-14
THE MEASURE OF THE MASK.
Gigantic Scale on which "Caliban"
VIII he Given Here Next Week.

During the dinner given by otto IL.
Kahn at Sherry's recently to those
expressly Interested in "Calihan, 10y the
Yellow Sands" the Shakespeare
masque to be produced in the city COL
lege stadium for five nights beginning
May 20. Everard Thompson submitted
some interesting figures illustrating
the physical magnitude Of the under
taking.
Mr.. Thompson, who with Donn
Barber had previously built the famous
Yale bowl and the motor speedway at
Sheepshead Bay. observed that the
stage already erected at the city COL
leCe stadium by Joseph Urban for the
"Cal.ban" production required the use
Of $4,000 feet Of lumber, was 81 feet
in height and $50 feet broad. Later
~ "A newspaper reporter Percy Foster,
the foreman in charge Of the job of
making over the stadium into a tree
mendous auditory for the great spec
tacle. provided some statistics which
emphasize the greatness of the enter
prise.
TIE stage itself will cost moro than
$4,000 for carpentcrinG alone without
IOullllilS SNtIltlN w w ''' tllNlh'N u
to the plain process OF building. II is
made of planed, tongued and sroovtd
lumber of fine quality and constructed
with the greatest care.
In the vast horseshoe 10 he oCcu-
pied by the 20, 900 spectators there are
10000 feet of lumber held in place ny
$50 kegs of bolts and nails. There are
u be $4,000 new seats added to the
original Lewiston stadium. which had
a capacity of 5000 persons sitting
down. In this new seating plan there
are 10 be PA private boxes, each ac-
commodating six individuals.
The construction of this vast stage
and speCtatorial enclosure VIII have
required the services OF 500 carpenters
70. a period OF five weeks continuously.
The production. in which thousands of
persons are To take part. calls for IN
enormous number of costumes. scenic
and lighting effects never before UNDER
taken and the concentration of an ar
tistic staff such as never before was as
sembled for the putting forward OF n
dramatic pageant. This staff includes
Joseph Urban. Robert Edmond Jones,
Koemmenich. Mrs. John w. Alexander.
Mrs. Robert Anderson and numerous
assistants.
The speaking cast OF thirty is headed
by Edith Wynne Matthison. Howard
Kyle. Lionel Braham and Gareth
Hughes. There is to be an orchestra
Of 200 and a chorus Of 1000 concealed
over the acting stage.
The sun. [volume] (New York [N.Y.]) 1833-1916, 1916-05-14
TIM MURPHY SAVED A LIFE.
hut Tie Does Not say How Nnn,
Ills Acting May Have settled.

Il requires a stretch of the imar '.t-
tion to- picture Tim Murphy, who pl,.-
the role Of on BH Bones in "Trcasui.,
Island at the Punch and Judy 'Tlc.t.r.
as ANYTHING else hut the murderous Old
captain Of Fl!nt's crew. Moreov,r. To-
picture hin as a farce comedian bring;
tho Imagination t. "A state Of ImrtdDN.
Nevertheless. il is the case that Tim
Murphy WAS one of the funniest and
most ldu-h provoking comedians who
ever played in a lloNt farce. Though
he played IN many of Iloyt's fares. his
most NOTABLE" creation was the charge
ter or Nar"rick BraHdcr, In "Trn
Texas S,r,r,' in which he starred for
many years.
The other night, having just lcc, tho
stage door of the Punch ana JUDY The.
atrc, he wa approached by a stranger
who. after introducing himself, mado
the startling announcement that Nj.
Murphy had once saved his HE. and
he wanted to talk" this opportunity Of
thanking him for III" service.
"Well,' said Tim. scanning the
strangers face closely, 81 am not Of u
very adventurous nature, and | don't
ever remember Of saV.ng anNhody's
life. sure I'm the right man"
sure" replied tho stranger. Aren't
you the Tim Murphy who played that
funny man in The Texas steer back
in Dubuque. Ia, several years ago.
Guilty." said Tim.
WELL" began tho stranger. placing
his hand on TINS arm, as if he were
afraid he would get away, that night
| was ro,n' to ash IN my checks
t, tho Almighty aUT was heading
straight Cor the river when I met 4
friend. The friend didn't know that
| had just buried the last of my three
Riddles 'lungsidc their mother. Id.dn't
want to look too anxious TO leave him,
because he might interfere with nv
plan to jump in the river. SO | just
pretended to ho the same as always.
Then he asked me 10 20 with him To
see a show called The Texas Steer
! at the Opera House. | hung back at
first, but finally decided to humor him
and postpone my own little act. We'll.
the show didn't much interest me At
first, ! wasn't in nue. of a hunor to
laugh. Then q came in and made
some funny remark | don't remember
il any more. and | smiled. Later on
o made some more funny remarks
and | laughed out ,oud. / guess that
broke the spell, for ! laughed til thH
end OF the show. When ! got ul'
and said ~Good-hY to my friend | looked
down the dark street toward tic river
and shivcred And then ! Thought ~
you in that funny part and right there
decided that, as long AS a lr,u lrt. =
N-N 81 L.. NF-- 49, 49,. ---4
l have IA good business in mis- rIlv
now and have laughed II good many
times since. but, Nj, Murphy, | reckon
it's you | have to thank for the llHsh
that saved my life"
The sun. [volume] (New York [N.Y.]) 1833-1916, 1916-05-14
By REAMER.

~ HERE could have been no
greater difference in the the
cries of stage decoration than
y. two performances on last SUNDAY
and las. Monday nights revealed. At
the little Bandbcx Theatre there was
a private performance of Maeter-
linck's '~.Aslavainc and Solysette" ~
the Washington Square Players. The
re,t n sht Sir Herbert Tree presented
"Thc Merchant of Venice" at the New
Amsterdam Theatre. There was "A
world of difference between the man
rer in which the two plays were pre-
ssEted. The difference was almost as
al these varied nights.
only a handful of the faithful sat
under the illustrations OF the powers
that preside in East Fi~fty-scventh
street. There was, of course, a crowd
10 I'LL the beautiful auditorium of the
New Amsterdam. Probably the diffe--
ent numbers indicate the degree of in
;erest in stage direction. The LITTLE
audience was immensely more pleased
ty the modern way of presenting the
lovely play of Maoteriinck than 1t
would have been by the spectacle pres
ented by Sir Herbert. But the delight
Of the large audience at the disclosure
OF the scenes of this highly pictorial
Shakespeare was manifest. Whatever
the beauty and significance of the new
s,agecraft may be to the lover of stage
art. the public that really makes the
theatre possible to-day is much pre-
JUDGED in favor of scenery And that
Is scenery of the conventional and APP
proved kind.
t. the present writer there is no
interest in the effort of n scene
painter TO r~ecreate Venice in the days
Of its greatness. No painter, even W.
Harker. is going to obliterate the mem
or Of what Giorgione, Tintoret. Paolo
Veronese, Titan and the other glories
Of Venetian art have done to i'm
mor,al.ze tie beauty Of the Adriatic
city. To listen to the beauty OF the
lines in the play n does not require
all the scenic investiture which is now
The sun. [volume] (New York [N.Y.]) 1833-1916, 1916-05-14
LEARNING FR0MM1SSDEMAREST
Freely Distributed by the Will
stachinn Tubing.

Erank wiIs,acb seriouslv pretends
-
''
iduies OF 'ne stage say 10 hiW' Else
how could he expect the world to
take serlousIv al, this learned talk
about music which Frances Demarest
handed TO him ius, before she closed
her enparemen, in ..The Rlue Para
disc" and won, IN sing in .The Rrazi,-
ian Uonevmoop She came into his
Office one dav and approached the sub
ice, in this way:
.Svnconation declares Miss Dom
Arrest iva. tho stock in trad. ~ mos,
of the comnosers. T., ;s , striking
feature in hungarian music and II
cav sop,e,ines ho heard ov,, IN
/, sailors. char,ios I, is renor,od ,ha, .
learned professor in tho ear,v ,sos
| said IN n lady amateur Van ran
play vpcopation, 'rhen you nus, no
n good musician. I, seems IN n. tho
jmnression Of some ,hat his we,l
known snccies ~ rhvthm was discov-
| cred ~, his s,do ~, >,,a,,ic ava
morcover some ~, tho.. rac,ir,a
,r,ors b,,,o hoo, &c n,.,,o, u.i,h -
diScnyer,. 40 a strso, Avah urb, =,
being ,ako, 70 ,ha corn,r aIs,,,ars
,ba, aou,ers ,roY. .I,n, 10 rna,,.tta
These r,,,irrors u.oro ton, o.n,nr,a,
hehind In Sni,,a,s re, -, Rach, NO
road that viva,1i tho ,.,o,iris, nh ,ioa
in ,-4a was sunnosed ,o ha,.a ;rvon,od
s~vncon,,iop. ,b,, i, ,oc,mo no,,,,ar
e. SIC aa,, ,,,,ar -, - -
hardic s,r,. AI,o ,ha, paoh ana
o,ho,s imi,a,o, w,,,.,,,. 49,
pr, s,,,aon,s -. onnas,,on h,n
u,a,s Lrour ,rnon,,,an r,aa. 49,
ramo -, ~ ,our,h snoas
,annot,,. ou
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don.s oro no, gu
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nira; poan,, 49,, "~'"s w,
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hao, oayos "'.,e,'o
nou .hn,,a W wiz
nroo,.s, naan,a. ~
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The sun. [volume] (New York [N.Y.]) 1833-1916, 1916-05-14

at the same breath they heard the
sweetest poetry and larklike music.
Strange, strange" Macdougall re-
marked. how Shakespeare has come
to be regarded as dry al dust. because
from childhood we have heard his
lines given In a droning s%ingsong,
Why, he's IA blatant reallst. Who
said: Let's lug the CUTS into the
unbolted villain into mortar and daub
the wall with him? Not IA pale book
worm. I'll warrant you"
Macdougall was asked why "King
Lear" had been chosen for the neigh
borhood performances in Chelsea
churches and settlements last month.
He produced the play and acted the
part of the king.
That's a good question" he replied
with a merry smile. Right you are
to ask It. l have many good answers
ready for you.
"First, We gave King Lear because
II Ia most seldom given and because
1t Ia the most misunderstood, the
most mlshandled Of Shakespeare'a
plays. Lear as written by Shake
SpeATe WAS uot pIouuce" uuIinh TIC
100 years prior to Booth. Nahum
Tate's absurd melodramatic version
had been the text for even such ac-
tors as Garrick. Kemble and Kean.
COrdelA married Edgar. Lear re-
mounted his throne at the end Of act
Ave. All the soaring tragedy was de-
leted. A silly soothing syrup ending
triumphed.
"Lcar was portrayed AZ a decrepit
old man instead of a rugged. violent
old savage. Tho whole play was
thrown Of IL balance.
".HlneS Lear contrary to the pre-.
The sun. [volume] (New York [N.Y.]) 1833-1916, 1916-05-14
TYPES ACTED BY
WILLIAM COURTLEICH

moments OF the play developed in the
very first scene from Wctond's confess
sion that she is not At to serve az
vestal virgin at the annual corn dance
festival.
Another thing is that | have a num-
Der of real and absolutely true Indian
sentences to speak-whole paragraphs,
rather. As John S,rfftutnd I merely
spoke a little more slowly as an In
dian would speak. but there was not
even SO much as An Indian dialect in
Northern Lights Altogether Qndnnnh
is the most difficult and yet the most
satisfying role | have ever played
The sun. [volume] (New York [N.Y.]) 1833-1916, 1916-05-14
SHAKESPEARE A FUTURIST,
BUT OF A DIFFERENT SORT

Duncan Macdougall. mo Scotch
actor who produced king Lear" for
the Chelsea Neighborhood Players. has
lis own views as to the standing OF
tie great playwright. He impaired
some Of them with picturesqueness
and tang to THE SUN reporter who
interviewed him on the success OF the
plays. lie began by saying that
Shakespeare was the futurist OF MS
day.
"Futurists are the most advanced
and revolutionary products OF art"
said Mr.. Macdougall. 1.-The futurist
kicks up his heels and vaults over the
stiles of convention. He makes a dive
at life, stamping himself free Of the
tcther.
shakespeare did that very thing.
He shook of rhyme which had fet-
tered the drama. He knocked the
stills from under ira gedy and snatched
the slapstick from comedy. He threw
aside the thentofore revered dramatic
unitics. He humanized the stage
world, peopilng 1t with thinking. feel
ing men and women to replace the
puppets which had for a long while
bobbed before the crowd.
But Shakespeare. the greatest Of
futurists, was far different from the
futurists Of to-day. Our futuriSts are
unintelligible to the masses Of people.
They deal with the unusual IN order
to revolt against the commonplace.
Shakespeare revOlted against tho art!-
fetal, producing the human. His
futurism was a light out OF darkness.
The sun. [volume] (New York [N.Y.]) 1833-1916, 1916-05-14
THE A THAT LAST.

The plays that continue In New
| York are "a Lady's Name" at
the Maxine Elliott Theatre, ERA
mona" at the Forty-fourth Street
Theatre, "Rio Grande' at the En-
pire Theatre, 1.-The Heart of We
tona"at the Lyceum Theatre,"Ihc
Boomerang" at the Belasco The
atre, Common Clay at the Re
public Theatre, "A Woman Of No
Importance" at the Fulton The
atre, "Hit the Trail Holli-
day" at the Harris Theatre,
The Cinderella Man" at the
Hudson Theatre. Treasure ISL
and" at the Punch and Judy The
atre, THE Melody Of Youth" at
the Criterion Theatre, Jus
lice" at the Gambler, 1.-The
Great Lover" at the Longacre
Theatre, 1.-THE Correspondent" at
the Booth Theatre, "Erstwhile
Susan" at the Gaiety Theatre,
Fair and Warmer" at the FL.
'inGc Theatre, The Merchant Of
Venice at the New Amsterdam
Inchtfc, 'Beau brumme at inc
Thirty-ninth Street Theatre and
the Washington Square Players
at the Sandbox Theatre.
The musical plays r Every
Good Eddie" at the Princess
Theatre, "Pom-Pom" at the
Cohan Theatre, "Katirka" at the
Lyric Theatre, "The Blue Para
disc at the Casino Theatre,
"Sybil' at the Liberty Theatre,
The Cohan Revue 1915" ut the
Aston Theatre and Robinson
G%rusoe, Jr.," at the Winter Gar
den.
The Hippodrome is open with
sousa's Band, Hip Hip Hooray"
and Flirting at st. Moritz," .
W spectacular Offering.
The sun. [volume] (New York [N.Y.]) 1833-1916, 1916-05-14
THIS WEEK
ACKNOWLEDGEMENTS Elliott's The
atre-"A Lady's Name" by

MONDAY-Maxine Elliott's The.
atre-"A Lady's Name" by
Cyril Harcourt for Marie Tenn
pest and a company of we'll
known actors.
Columbia Theatre-Opening
of the summer season of bur-
lesque.
Thirty-ninth Street Theatre
Arnold Daily will transfer his
revival of Richard Mansfeld's
great success, "Beau Brum-
MEL" to the Thirty-ninth
Street Theatre beginning to-.
morrow.
Opera
House-Matinee performance
with famous singers for the
Actors Fund of America.
WEDNESDAY-Cort Theatre
"Molly o." new operetta by
Carl Woess and the Smith
brothers.
FRIDAY - Metropolitan Opera
House-First Public Gambol of
the Lambs this season, to be
repeated on Saturday evening
and matinee.
The sun. [volume] (New York [N.Y.]) 1833-1916, 1916-05-14

Shakespeare brought the heroes Of
ancient. medieval and his W times,
the kings. to the people. Spirits,
ghosts. almost God himself Shake
speare made speak the heart language
of the folk. he made them ineligible
to the bottle and jug life of the Eliza
bethan day.
HE treated kings and queens like
humans. The wires by which he
pulled them were the most sensitive
psychologist nerves. His psychology.
when analysed. IL the most unerring
in all the literature Of the world"
With emphatic mods Mr.. Mac
dougall confirmed his faith in Shake
speare.
Shakespeare held the mirror up to
nature" Macdougall continued. IL
wonder how many people really un-
derstand what Ii meant by that
phrase? It doesn't mea that Shake
speare photographed life. He didn't.
He held all the humdrums, the pet
tiness. the whole panorama of the life
OF tho town. all the show. all the
shams. all the seemings Ito use his
favorite word) up against the real
things that count-all the passing lies
up against the eternal verities. which
are more enduring than the laws OF
the Modes and P~ersians.
"Why. In his first tragedy he shook
the town." Macd0ugall indicated with
a sweeping gesture. London stood up
and gasped. for instance. at the OPEN
ing scene OF Romeo and Juliet In
stead Of straw types. bloodless marion-
cites. the London audience saw on the
stage q revelation OF life. q roistering
scene In the streets. d~runkards. human
The sun. [volume] (New York [N.Y.]) 1833-1916, 1916-05-14

ell the trial scene there is no figure
to which the eye So frequently turns
and on which it rests with the salts
faction to be derived from the sight
of the stricken Jew. And the same is
true OF every scene which brings hun
TO the view of the audience.
There is no reason in the world why
the jew should no he played with the
resources Of melodrama. But there
would probably be no reference to the
nelodramatic character OF the Eng
l!sh actors representation. of Shylock
were his vocal equal to eX-
pressing all that there is in the
speeches OF Shakespeare.
The manner in which ".Aglavaine
and Selysette" was presented was al
together charming. There was every
phase OF the little tragedy reflected on
the curtains by means Of the lights.
which were contrived with such skill
that in me instance they ever man
aged to present the Illusion OF the
foliage in a park. Such a name Of
performance is. however, for only the
elect at present. The larger pub
lie would probably he disappointed by
its simplicity. II win be enjoyed.
however. just in proportion to the in
t~elligence and cultivation OF the spec
tators. Indeed the decoration was
superior to the acting. The ecstatic
detachment supposed to be the es-
sence Of such plays as this tragedy
OF Maeterlinck was altogether lacking.
The players kept their feet on the
The sun. [volume] (New York [N.Y.]) 1833-1916, 1916-05-14

dances. now happily familiar to us.
Their intense energy, the fire with
which they inspire the %executants are
largely due to the constant recurrence
Of syncopation combined with great
rapidlty Of movement. Yet the dis
turbance Of accent Is so exQuisitely
mingled with regularity that there Is
no chance of the ear becoming mysti-
fed"
The sun. [volume] (New York [N.Y.]) 1833-1916, 1916-05-14

At the Cort Theatre Wednesday
night John Cort will present "A spring
in the form OF a new operetta
Molly o." book and lyrics
by Harry Il. and Robert Il. Smith.
music by Carl Woess. and staged by
George Marion. The play is in "
in Newport and that OF the second in
Vienna. The story concerns IA title
hunting mother who corrals "A count
for her daughter. When the count
learns that he has been bought and
paid for he rebels. only TO catitulate
in the end when he learns that the
girl really loves him for himself alone.
The first act displays the scene of the
wedding Of Count Walter. P!qued 10y
the fact that $1,000, 600 was the con-
sideration involved h count leaves
his bride after the ceremony and HES
away to Vienna, where, in the second
act. at a ball given by art students
the two are r~econciled. Opportunity
is therefore given for beautiful cos
tune display. The score by Mr.. Wo"ss
includes some twenty numbers. The
presentation will serve to introduce "A
new prima donna in the person OF
Katherine Galloway, and will also
bring back to the legitimate stage
Grace Field in n of the most inn
portant roles. The cast Of principals
will also include Tom Lewis and John
b. Young among its fun makers, and
Thomas Conkey. Donald Macdonald.
Mabel Josephine Harris, Dan Quinlan,
Donald Crane. Rene Detling, Josie In
tropidi and many others among its
singers and dancers. Matinces
Wednesday and Saturday.
The sun. [volume] (New York [N.Y.]) 1833-1916, 1916-05-14

ground. Then Yss1line should be
played by a child. But there was lit
tie in the production Of the play to
suggest the figures Of a painting by
Puvis de Chavannes moving with the
vagueness that might be expected Of
them. And hat is the truest kind Of
Maeterlinckian acting.
The sun. [volume] (New York [N.Y.]) 1833-1916, 1916-05-14

"a Lady's Name IS the title of the
rev farce by Cyril Harcourt. in which
Marie Tempest will he seen on Mon
day night at the Maxine Elliott Thea
tire. Details Of the production have al
ready been published here.
The sun. [volume] (New York [N.Y.]) 1833-1916, 1916-05-14
TWO NEW PLAYS THIS WEEK.
Novelty for Marie Tempest and
an Operetta TO he Heard.

The are now offering the
spring novelties OF their theatres.
There will he a farce and a musical
play this week as the %springtime con-
tributions.
The Keota news., 1916-08-04
ITCHING, BURNING scALPs
crusted With Dandruff Yield Readily
to cut;cura. Trial Free.

Cuticura Soap to cleanse the scalp Of
dandruff crustings and scalings. and
Cuticura Ointment to soothe and heal
itchings and irritations. Nothing bet
ter, surer or more economical than
these super-creamy emollients for hair
and scalp troubles Of young or old.
Free sample each by mail with Book.
Address postcard, Cuticura. Dept. L,
Boston. Sold everywhere.-Adv.
The Keota news., 1916-08-04

Oe~S AONAs0 VI S00 0ROONu W08 w.
voted to Mexico. Step after step TAX
en- by the administration with refer.
ence to Mexico was assailed, from the
days Of Huerta to the note sent the
de facto government by the state De-
partment June 20 last. part Of which
was quoted In the speech.
The seizure Of Vera Cruz. the nomi.
nee said. was war. of course"
Later we retired from Vera Cruz,"
he continued. giving up this noble
warfare. Recently the naked truth
was admitted by q cabinet officer. We
are now informed that we did not go
to Vera Cruz to force Huerta to sa-
lutte the nag. We are told that we
went there to show Mexico that We
were in earnest in our demand that
Huerta must Co."
America, Mr.. Hughes continued. has
no policy Of aggression toward Mex.
leo, no desire for any part Of her terri
tory, but wishes her to have peace.
stability and prosperity.
"Brave Words In Notes."
1.-THE conduct of the administers.
ton has created difficulties we shall
have to surmount," he said. I'VE de-
mand from Mexico the protection Of
the lives and property of our citi-
Gems and the security of our border
from depredations."
Safeguarding American rights abroad
had not been accomplished by the
administration, he said. There had
been "brave words In q series of
notes." but what does It avail to use
some of the strongest words known
to diplomacy II ambassadors receive
the impression that the words are
not to be taken seriously?"
The nominee reiterated his declara-
ton that had this government left no
doubt that 1t meant to hold Germany
to "strict accountability" there would
have been no loss of life ON the Lusi
tania.
Discussing preparedness, Mr.. Hughes
said it was apparent that the United
States was 'shockingly unprepared."
Fails In Responsibilities.
1.-THE administration has failed to
discharge its responsibilities" Mr..
Hughes continued. Apparently 1t IL
now seeking to meet political exigen-
cies by its naval program. But it has
imposed on the country an incompe-
tent naval administration.
I'VE demand adequate protection on
both our western and eastern coasts
We demand thoroughness and eff
cheney in both arms Of the service.
1t seems to be plain that our regular
army 10 too small. We are too great
q country to require Of our citizens
who are engaged in peaceful voca-
tions the sort of military service to
which they are now called"
OF the present prosperity Mr.
Hughes said: I'VE are living in Q
fools paradise" It ia, he said, pros
perity brought about by tho abnormal
conditions of war. For the protection
Of the industries and workingmen OF
the United States against the compe
tition Of IAN energised Europe" Mr.
Hughes said 1t was plain that we must
have protective. upbuilding policies
Other measures, too. should be ap
piled, he said, notably the upbuildins
Of . merchant marine.
international Tribunal.
To make peace lasting and effective
when the present war shall end, Mr..
Hughes advocated the formation Of
IN international tribunal to dispose