New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1917-06-03

NINE. YoRsKA first name I'M
wi known is the young woman
who will courageously enliven the
dying season with a special perform
auce OF a new tragedy at the Comedy
Theatre tomorrow afternoon. Per-
sons who CHANGED 20 see a luckless
play entitled 1.-THE Greatest Nation"
which fourished with fitting brevity
at the Booth last season, may remem-
Der her as the princess in that piece.
Still further, persons who patronized
the local French drama during the
season of 1924 are certain to re-
call Nine. Yorska in a series of di-
yergent roles. AS for the casual and
intermittent theatregoer, he is quite
unlikely to know her.
Nine Yorska is one OF the growing
and important group who are not de-
signed, either temperamentally or
physically, for roles in the kind of
plays upon which Broadway showers
is favor. Members of this group, ac-
cordingly, have to make their own
opportunities, and the manufacture Of
theatrical opportunities is a route
lined with special matinees, perform
ances in remote theatres and labor of
the kind that is constant, hard, unre-
munerative and discouraging. Thus
we have to-morrow's performance Of
Jenny"
Although Nine. Yorskas education
was entirely European, making her
requirement Of English a latter-day
accomplishment, she is in reality an
American girl. Her mother, Mathilde
Druilhet, was married to Edward
Stern, OF Mitau, Russia, who, besides
acting as consul for Russia, was a
we'll known New York fnancier.
Shortly before his death Consul Stern
became a nsturalized American citi-
zen.
Nine. Yorska first studied in Paris
with Guillemot, who has coached
many great actresses of the present
generation, and also with Paul Mou-
net, OF the Coincide FRANCHISE, and
Henri Burguet, OF the Theatre Michel
Her first engagement was as leading
woman at the Theatre Royal du Pare,
Brussels. II was during her first sea-
son there that Elinor Glyn saw her
and asked James K. Hackett 10 en-
gage her for his production of "Three
Weeks" but the production was not
made at that time, and Nine. Yorsks
was engaged for the Theatre National
de POdeon, under the management OF
Andre Antoine, the great French d.
rector, TO whom the modern stage
owes much OF its present glory. After
marked success at other theatres,
Nine. Yorska was introduced to Sarah
Bernhard and engaged at once as a
member of the famous company at her
own theatre. Nine. Yorska's first i'm
portant role at the Theatre Sarah
Bernhard was the part of Esther in
the Biblical play Racine"
Shortly after the closing of the
Sarah Bernhard Theatre Nine.
Yorska came to New York to portray
the title role in English Of Constance
Lounsberry's Judith which was
given at private performance at the
residence Of Mrs. Philip Lydig. Her
success in this performance. was such
that she was able to acquire the
patronage of a number of we'll known
women, which, in turn, enabled her to
work out her plans for season OF
French plays in New York. Before do
ing this. however, Nine. Yorska con-
suited with Lucien Bonheur, vice.
president of the Alliance FRANCHISE of
the United States. and the latter was
so enthusiastic over the idea that he
agreed TO help Nine. Yorska to found
q French company in New York City.
They launched the venture in Deem
her, 1913, and it was then called "The |
French Drama Society Of New York /
City" During that season, 1924.
Nine. Yorska played the leading roles
in the twelve plays that she produced |
for the society. At the end Of the