New-York tribune., 1918-01-06

continually from b O'CLOCK IN Cne morn
ing until the doors opened at night.
To be sure, one expects a company Of
players in Greenwich Village to be dlt-
lerent from the common or garden va
riety OF Broadway actors. They do not
wear striped collars and spats and yel
low chamois gloves. They do not sail
forth on the Avenue with their Poms at
in the afternoon and stop for tea at
Sherry's or the Ritz, nor do they linger
over their whisksy and sodas at the
club. For, although they are profess
sional company, each member has won
his spurs in some other line of artistic
endeavor
That is how it happens that peep
into the Greenwich Village Theatre on
q very cold, recent Sunday afternoon
disclosed Manager Frank Conroy, Tech
nical Director Roy Mitchell and Actor
Hal Lapham slapping paint all over a
huge canvas. until the result was
really beautiful stained glass window,
used for the church setting in the
Christmas Miracle plays. Ever see
managerial magnate on Broadway stop
Of Sunday afternoon to paint his own
scenery, with the assistance of his
technical director and an actor from
the company?
Roy Mitchell doesn't stop at being a
technical director. { information Is
wanted on anything pertaining to the
drama "Ask 'Mitch,' he knows" If
discussion arose as to whether there
was popular conception of the Angel
Gabriel as resembling Chnaman
wearing Burne-Jones wig, "Mitch"
could soon sail into learned disserta-
ton. If question of music, or period
setting, or socialism, or food, or
aesthetics, or the relation OF color to
sound should come up in the course Of
the day or night, all that is necessary
is to call in "Mitch" to have it definite
y and satisfactorily settled. If one
wants to borrow an umbrella, quarter,
g coat; to know the weather forecast;
What Started the Great War, one goes
instinctively to him. When a produc-
ton is to be put on "Mitch" goes
ahead and puts it on while Barney
watches.
For Barney Gallant. having press
agcnted and taken care Of the Mexican
government for three years, is well
able to see that there is no elopement
between art and money at the Green
wich Village Theatre.
1t is natural that the theatre, being
in the heart of Bohemia, should revolve
around "Polly's" where Bohemian
ism moves, lives and has its being. The
sign above the blue painted door says
"Greenwich Village Inn," but to all the
inhabitants of Sheridan Square anC
cnvirons the Inn is known familiarlS
as "Polly's" 1t is here that the lumi
naries of New York's artistic and liter
airy world forcgather to bohemc cacf
evening. 1t is here, around the huge
open fire or at the long, bare tables an(
equally long hard benches that the
Greenwich Village Players repair mos
every night after the performance tt
discuss ideas, plans, condolences ant
: compliments.
Here ragtime piano helps dispe
the tension Of creative minds, while
through the smoke filled atmosphere
:. can be seen Fania MarinoT, in tige1
| skins, languidly smoking Il cigarette
with her famous husband, Carl Var
Vcchten, and a party of friends. L
rania Marinoff should ever tire of act
ING she would soon be equally famous
I rs designer of gorgeous costumes
She flashes a vivid smile toward tn
1 long table beyond, where Frank Conro.
sits in solemn conclave With IIarolt
, Moltzcr and "Mitch" over their sand
: viches and beer. Joseph Macaulay an'
Quiet little Margaret Farclcigh wen'
their way through the tables to Joil
the others.
The air is getting heavier with smoke
and spirits arc getting higher. Th'
piano has resumed a rolllcking toX-tro
or perchance it is sinuous Apache
dance for the special benefit of twf
dancers who emerge from the smoke
and dance merrily in the glow OF th'
| freight. All, yes, they are Cary liar
: ling and Edwin Strawbridgc Garry
tall, slender, decorative i'll her darf