New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1917-11-18
Who's Who in "Potash
and Perlmutter"

Since Joseph Jefferson tfdpVIaNCN
into Rip Van Wrinkle and was utterly
lost as himself forever after, few play
ers have been so absorbed by their
roles as Barney Bernard and Alexander
Carr, the original "Abe" Potash and
"Mawruss" Perlmutter, respectively,
row playing in their greatest success,
Business Before Pleasure" at the FL
tinge Theatre.
Since the memorable first perform
ance of potash and PerlmutterH at
the Cohan Theatre on August l6, 1913,
Barney Bernard has appeared as "Abe"
Potash continuously, in New York and
on the road, in three editions Of the
famous comedies. No other role has
known him since, and even his closest
friends have ceased to know as himself
the modest young man who effects so
remarkable a transformation
Mr.. Carr has not been so faithful TO
Perlmutter. He is guilty of one defec-
ton, for he did not appear in potash
and Perlmutter in Society" During
the two-year run of this piece he played
in vaudeville, returning to chickering's
and quarrellings and undying friend
ship with "Abe" Potash in Business
Before Pleasure"
Barney Bernard unblushingly admits
Rochester as the place Of his birth.
After a debut in burlesque and later in
vaudeville came an engagement to play
David Warfeld's part in "Fiddle-dee-
dee" In Buffalo during the exposition.
He remained in Buffalo twenty-six
weeks, went on tour, and was engaged
to play the same part in Fishers The
atre, San Francisco, for twenty weeks
He remained there for five years, play
ing everything from Juveniles to Shy
lock. Then he came to New York,
where a more or less interesting career
eliminated in "Potash and Perlmut-
ter" Thereupon Barney Bernard made
way for "Abe" Potash.
Previous to his debut on the stage
Mr.. Bernard was for some time engaged
in the clothing business, where he had
abundant opportunity for perusal of
those types that we're later to serve
him in good stead when he was called
upon to delineate Potash. Few people
who have beheld the bald and portly
"fillum" magnate and erstwhile CLOAK
and suit maker would recognize his
creator in the sturdy and boyish look
ing Bernard. Potash is sixty; Bernard
is thirty-eight. Nor is the transforma-
ton solely one of makeup. Mr.. Ber-
nard does not use wig as many sup
pose His art Ia the result Of thor
oughly knowing and feeling Potash.
Mr.. Carr, who plays with such fine
distinction the less sympathetic role of
Perlmutter, is the son Of rabbi. Like
Bernard, he foreshadowed Potash and
Perlmutter by acquiring thorough
training in the trying science of sales
manship before going on the stage.
Mr.. Demands meter was clothing; Mr..
Carr devoted his youthful energies to
patent medicines. There is a further
parallel in the early career of these
two Enthusiastically fine artists. Mr.. Ber-
nard began with burlesQue; Mr.. Carr
commended himself TO the -Thespis
who guides the destinies of the circus
and began as q clown and juggler.
The very name Of the circus is for
gotten. Thence no leaped into grand
opera and sang with "fy-by-night"
troupe. Mr.. Carr has a cultivated barry
tone voice, that betrayed him, however,
and sent him with a minstrel troupe.
Eventually the drama claimed him, and
he made hts first venture in the legiti-
mate in a melodrama called "On the
Stroke Of Twelve"