Evening star. [volume] (Washington, D.C.) 1854-1972, 1917-02-04


made one Of her greatest successes.
Among her support are Wallace Reid,
who played opposite her in Carmen" :
Theodore Roberts, Tully Marshall and
Hobart Bosworth. Mr.. Cecil B. De Mile
was the director. The picture has been
playing in New York since Christmas
day.
specially trained orchestra and
operator from the Forty fourth Street
Theater, in New York will be sent down
with the picture.
ten for the production of "Ben-Hur" by
Edgar Stillman Kelley is strongly i'm
bued with religious spirit. In the pre-
lude, 1.-The Wise Men of the Desert"
the music is both orchestral and
choral. For the latter there were Sc
lected passages from the prophecies of
Isaiah concerning the coming of the
Messiah. where Christ is referred to as
the Light that will tighten the dark
ness of the people," The music used
begins with the theme of the prophecy.
trumpets and trombones, and is built
upon an ancient musical scale peculiar
to the Semitic people.
"Alias" Cross Marks-On the bill
boards and in the window display cards
announcing the new play to be pre-
scented by David Belasco, the word
Alias" is shown with two crossed lines
through it. This cross through the
word Alias" has puzzled every one and
has caused no end of queries and specu-
lation, both as to the nature of the play
and the meaning Of the cross marks
through the title.
1t appears the play, "Alias." is found
ed upon a story called alias Santa
Claus" that appeared in the saturday
Evening Post. If memory serves, the
Santa Claus part came into the story
because the principal character looked
like Santa Claus to the children he
passed in the street. 1t seems that this
character had served sentence in
sent and that when he came out he had
grown white and looked the part OF
Santa Claus.
Here is where the crossed out Alias
comes in. This old man. having served
his time in prison. has in reality can
celed his alias, hence the crossing of
1t out.
NAT Goodwin's Debut-Speaking of his
early days, Nat c. Goodwin said:
During the seasons of 1875 and 1876
I found 1t difficult to secure any en-
ployment whatever. Variety. now
CBlleu VauQeVlllt, pe6u ~ ohaiS
patronage with the legitimate. l de-
termined to turn my attention in thai
direction Salaries offered by rival
managers were tempting, and the OPP
of advertising ones ability
much greater than in the legitimate. l
persuaded my father to advance me
enough money to have some costumes
and succeeded in inducing one
Bradford to prepare a sketch for me.
1t was called His First Rehearsal 1t
cost me altogether $3.50.
II succeeded in procuring an opening
at the Howard Athenaeum. under the
of John Stetson. My as
sociates in the same program were Gus
Sol Smith Russell, Pat Roo
ney, ST., Denman Thompson and sew
eral others who afterward became IA
nous. l was handicapped by this COM
petition and my success was not nat
tering until about the end of the week.
when / gained more confidence and my
methods were a bit surer.
AFTER my run at the Howard Athe-
naeum Tony Pastor offered me an
at $50 a week to appear in
ror stricken. He had announced me as
actor. author and mimic. l remained
with Tony several weeks and when I left
Gotham my salary had grown to $500 a
week
Variety was hardly to my liking. 1t
gave me too much time to myself and 1
regret to say that / saved but little |
from my seasons work.
"Col, Sim of the Olympic Theater. !
New York, made me an alluring offer
I decided to enter the legitimate and |
accepted an engagement to appear as
Cant. Crosstree under" the management |
Of Matt Morgan of the Fourteenth |
Street Theater. in burlesque of Black
Eyed Susan After a few weeks I ac-
nsr<ad on anra cement to return to the !