New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1917-09-23
UP AND DOWN BROADWAY

centric butler In cover the Phone" at
the Forty-eighth Street Theatre, and
who has seen the theatre district move
uptown fifteen blocks every ten years
since Edwin Forrest patted him on
the back for speaking a line well when
he was a call boy.
It is hardly necessary TO state that
so accomplished an actor is not re-
stricted in the sort OF role he can
play, but, lest the matter should be
misunderstood, he remarked that he
had no particular penchant for but
lcrs or Wallets, in spite Of the applause
that he evokes by his present imper-
sonation. His versatility may be in
dicated by mentioning that he has
played every part in Hamlet"
"My stage experience or education
has fitted me for all stage impersona-
ton" he remarked, very justly,
whether il be the man or the master.
| have played every sort of part in
the standard comedies, farces and
tragedies, as ! assembled the dramatic
ladder. Ny method OF learning was
by absorption mostly, for while | was
playing one part was getting the
next in order through the eye or ear.
That practice reminds me of par
/ ticular in which the management OF
Days Theatre erred. The rule there
prevented the young actor from stand
ing in the wings and watching the
other players. Several prominent
stars have adopted the same system.
Not so Lester Wallack. was three
years at Wallsck's, at Thirteenth
Street and Broadway, and, although
was the walking gentleman Of the
company, In which we played all of
the old comedies, was constantly in
the wings observing those grand old
actors, Wallsck, Brougham, Gilbert
and others.
quite a number Of prominent act
ors have declared in their turns that
while in their novitiates they have
watched from the wings nightly and
have copied my method Of acting,
which has helped them to rise to their
present positions. Wasn't it nice OF
them TO say so?
Edwin Booth, when a boy, was con-
stantly at the theatre with his father,
the great Junius Brutus Booth, and,
at the age of fourteen, played with
him the part of Milford in The Iron
Chest ] very much doubt if he was
ever compelled TO study many OF the
lines Of Shakespeare from the book.
He lived in the theatrical atmosphere,
imbibing through the eye and ear the
text Of those immortal plays, and, as
far as | am concerned, some of those
parts that have not spoken for thirty
years are still fresh in my memory"
Jane Grey has at last her hearts
desire, albeit in slightly modified
degree, a nice, important bedroom
scene a la Camille" The opportunity
is provided by "De Luxe Annie" in
which Miss Grey impersonates the busy
little badger lady. The scene may not
be fully up TO expectations for the rea-
son that Annie is revealed with her
head swathed in bandsges after an
operation.
Doubtless Miss Grey would have pre-
ferred something in the line Of Des-
demona, with the delectable pillow bust
ness. She has admitted, indeed, a
slight jealousy on account OF John
Barrymore's opportunity in Peter lb-
betson" for a death scene on an ample
couch with lovely spot light.
The interest of actresses in death
beds is one of the anomalies OF the
theatre. Shakespeare, who was ever
at pains to crafty his players, pro-
vided "Othello" with the best death on
record. Julia Marlowe put herself on
record as completely satisfied with the
opportunity afforded by the four poster
in Barbara Frietchie."
II the actresses themselves take such
vast satisfaction in the indulgence OF