The Washington times. [volume] (Washington [D.C.]) 1902-1939, 1917-01-26
Dorothy Newell, Who Plays Pas
sion in Experience" Had
Humble Start.
WAS IN zIEGFELD FoLLIES
Believes UnreIenting Discipline
Of Musical Shows Contribu-
tory to Later Success.

Score one for the successful actress
who is not ashamed to admit that'she
began life in the chorus.
Miss Dorothy Newell, who plays
Passion in Experience" at the.
Belasco Theater, is proud to confess
that her first stage training was &C
quired In the hardest and best known
schooK of experience for an ambitious
actress. Only last season she was in
the "Zeigfeld Follies"-incidentally,
one of the most beautiful figures in
that constellation of fair women.
Discipline Beneficial
II rose from the chorus ranks, and
] am not ashamed to confess the
truth" said Miss Newell last week
u firmly believe that the chorus Is
the best possible training for an &C
tresE. From the very beginning Of
stage career, If started i'm the
chorus, the strict discipline necessary
in the big musical shows has a won
derfui effect upon girl who is really
ambitious. She learns to realize that
the rules of the stage manager have
been. evolved in an effort to do the
greatest possible good for all con-
cerned. Only the frivolous and Eighty
chorfster could object to the reason
able discipline which is a part and
parcel of our musical comedy system.
THOSE who look ahead to the follow
ing season, hoping to accomplish
something in the profession, must
realize instantly that the hand of a
hrm and clever stage manager is the
best possible guiding rod to future
success
Elsie Ferguson, Irene Fenwick.
Hattie Williams score of Others
who were once chorus girls-wiII MI
pear me out in my statement that the
chorus Is the best possible school for
an ambitious actress.
In the chorus of the ZeigfeId Fol
lies for instance, ] learned to make
up for the first time. Dancing Is an
other splendid training for the ambi
,tious actress. as II teaches her grace
ana suppleness. I do not believe that
! could play the part of Passion In
experience as ] do, with so MANY
poses, had I not learned the value of
striking pose.
Some Lack Ambition.
"of course, the most difficult thing
for chorus girl to do is to get out
OF the chorus. This Is because
many girls seek a stage career who
never have ambition to rise Man
ayers have learned by experience that
the vast majority of chorus girls. 20
on the stage only to make a comfort
able living until they can manage to
meet some wealthy man who will
marry them.
In other words, the managers want
good chorus girls. but find IL difficult
- 3D. H.
fore, II ? girl does try to rise from
the chontIs her efforts are usually re-
garded lightly until she gives some
demonstration of real ability. This
may come by securing an understudy
and playing roles in case a principal
becomes I'll. That is the way first
rose from the ranks-by singing three
understudy roles, and in this way at
tracing the attention of the manage
ment.
Attracted Producers Attention.
at was while singing an under
study role last spring that Morris
Gest, of the theatrical firm of Elliott,
Comstock 4 Gest, heard me at a
matinee. He made an appointment
to see me the next day, and he said
my personality was such that IL 1
could learn the role of Passion, he
would be glad to engage me. ! took
the manuscript from him. read the
role on the spot, and he gave me the
engagement.
IT consider II one of the best act
ing roles have ever seen, when one
considers that Passion is only on the
stage for a short time at the end Of
the frst act But in those five min
ties of suppressed and emotional act
ing. Passion virtually dominates the
whole scene. l throw every bit Of
ny vitality into the role, and when
e is all over, ] am as weak as a rag.
But I love to play the roIe-it Is
wonderful"