The Washington herald., 1916-10-01

mate success OF the producuon, Dur
lacking even one of them, the chances
are that your play will fail.
In the case of ~The Cinderella
Man" it appears that its success has
been due to a combination of the
various elements.
Shelley HuIPs Laughter.
Shelley Hull. the Anthony Quintard of
The Cinderella Man" has a laugh that
Is really worth money. Its fiscal value
can be best understood when it is known
that he actually laughed himself into the
leading role.
1t was last summer at West Hill, Conn,
that Edward c. Carpenter. the author
Of The Cinderella Man." first heard his
laugh. Il was sitting on the veranda one
August afternoon, racking my brain for
some one to play Anthony Quintard, the
young poet who stars without losing his
sense of humor."
Presently heard the most engage
ing laughter-a volley of it-rising from
the lake. I thought-'That man laughs
ike QUintard.'
1T was not until afte9 had investi-
gated that learned that the laughing
man was an actor and that his name
was Shelley Hull Finally I broached
the subject Of the play, and The Gin
derella Man was engaged"
Washington PremIeres.
Convincing evidence of the regard with
which New York managers hold the
opinion Of Washington audiences has
been thoroughly expressed since the
present theatrical season opened. There
have been two premieres here in two
weeks and on both occasions the pro-
ducers themselves came to this city to
receive the verdict of local audiences be-
fore taking their plays into New York
Oliver Morosco was here to witness
the final performance of Upstairs and
Down" and his departure was covered
by William A. Brady, who registered at
the Shoreham last Sunday, his visit be-
ing occasioned by the opening of Object:
Matrimony." David Belasco has for
many years past used Washington for
the Dog when presenting new shows
and it 'nows looks as though the other
managers will line up following him.
FritEi, the TOmbOy.
Fritzi Scheff believes in prenatal in
fluence. She was intended for a tom
boy. Her father, DR.. Fritz Scheff, of
Vienna, wanted her to be one Of these
kids who raise the dickens" That's
why he gave her his name. And al
though she was never an angel, as her
various managers will take oath, she
never had the chance ITO raise the
dickens" on the stage as she has wanted
to do. She knows she could make au-
dtences giggle at her antics And at the
close Of her vaudeville tour, she hopes
to be able, to do it.
II must make FRITZ smile when she
reads about all the little ''Tootsie Mays"
OF the theater whose managers say that
somebody or other has called them THE
Little Devil Of Grand Opera" That
Fritzi scheff and the others have bor-
rowed or stolen the distinction from her.
Paderewsd dubbed FRITZ that, when she
was rehearsing for his opera, 'Manru,"
at the Metropolitan In New York. He
saw that she was a born comedienne,
Just as the others had seen it; but the
public says sing" And she has been
condemned to a life OF warblIng.
The House of Glass.
The attraction at the New National
House Of Glass and its seriousness
versatility. Its story Is that Of a girl
who. wrongly convicted Of crime, serves
part Of her time and then breaks the
parole on which she Is released to take
up a new life outside the Jurisdiction of
the New York police. Happily married
to an eminent railroad official, she re-
turns to New York after an absence
OF ten years She has failed to count
with the fact that there are detectives
with pride in their profession, and one
OF these insists on doing his duty when |
he recognizes this woman OF importance