davidaulloa/AmericanStories huggingface dataset:
The sun. [volume] (New York [N.Y.]) 1916-1920, 1918-11-24

wrote the great tragic actress to the
girl who grew from childhood under
Nine. Modjeskas influence and who is
to play ono OF the roles in which Nine.
Modjeska coached her, Lady Mdcbeth,
in the production Of Macbeth" at the
Plymouth Theatre.
Tho mantle OF Nine. Modeska has
fallen on no other American actress.
for Shakespeare is infrequently pre-
sented, and Gilda Veresl Is now play
ing her first Shakespearian tragedy
since the passing Of the Modjeska
company. As Jane, the Portuguese
girl in the Winthrop Ames produc-
ton Of Children Of Earth" Gilda
Veresi made the most important sue
cess OF her career. Her season in Lon
don as understudy for Doris Keane In
Romance" added TO her European
reputation. for she played the role
many times, and in War Brides" fol-
lowing Nazimova, she scored a success
To those in the audiences at the Full
ton Theatre who have been impressed
by Worthtnoton Bricc. ST., the aristo-
cratic old father who appears only in
the first act Of "A Stitch in Time" Il
will be interesting to know that the
actor who interprets that role Is soon
to celebrate the fortieth anniversary
Of his first appearance on the New
York stage and that his engagement
In this comedy marked his return to
the stage after an absence OF eleven
years.
J. II. Gilmour was born n Montreal
and made his stage debut with Ade-
laide Nelson In Twelfth Night" in
that city. In 1873 he Joined Lester
Wallack's stock company at Wallack's
Theatre (later known as the Starr as
the juvenile in "Old Heads and Young
Hearts" His associates were Ada
Dyas, Nine. Ponisi, Dion Boucicault
John Gilbert. Maurice Barrymore
Arthur Rockwell, Arthur Floyd. Gerald
Eyre. Stella Boniface. Joseph Shannon
Rose Wood and others OF revered
memory. He remained with that COM
pany until 1881 and after q tour Of the
West Indies appeared at Niblo's The
atre in THE Dukes Motto" "Theo-
dora" and other famous successes
Then came two seasons at the Madi-
son Square in Hazel Kirke" and other
now historical productions, after which
The sun. [volume] (New York [N.Y.]) 1916-1920, 1918-11-24

My Heart" was playing In New York
Miss Taylor, the star, Instituted q
series Of one act matinee plays.
Among them was Happiness" which
proved n great success. Miss Cooper
treated the part of Mrs. Pole, and
later. when the success Of this act
resulted In three act play based on
L, Miss Cooper continued to enact
the role she created. Among her
succeeding engagements she has
appeared with Mr. Arliss at the
Knickerbocker Theatre in 1.-THE Pro-
fessor's Love Story" and with John
Drew in 1.-THE Gay Lord Quex" at the
Forty-eighth Street Theatre.
On New Years Day, 1918, when
Laurette Taylor and her successful
play Happiness" the enlargement of
the one act sketch Happiness -
opened at the Criterion Theatre. Miss
Cooper again played the part she
created three years before. When
Happiness closed its successful New
York run and prepared to go on the
road. Miss Cooper announced to her
principals that Lee Shubert had Of
fered her the leading feminine role
with Robert Edeson, In a new melo-
rama which he was about to pro-
duce, and that she had accepted. Ac-
The sun. [volume] (New York [N.Y.]) 1916-1920, 1918-11-24
NEWS AND GOSSIP OF. THEATRES

musical comedy Mr.. Lertora laid the
foundations for an enviable reputation,
which no has been living up to ever
since. Now he is again playing lead
ing role with Miss Painter under the
management of Mr.. Cort All this has
come before he has passed his twenty
fifth year, which makes one think
that the training one gets in the vii
lage is perhaps certified diploma for
success.
Charles Latte. the young actor who
plays In Winchell Smith and John L.
Golden's latest production, Three
Wise Men," at the Criterion Theatre,
began his life as an artist. Or rather
he tried to. From gray dawn until the
Light was gone the young man labored
away with oil, paints. brushes. palettes
and the rest of the artists parapher-
MALTA. But he toiled in vain. The
muses. would not wait upon him and he
courted art in desperation and despair.
well, will avenge myself upon the
world-I will go upon the stage" he
decided grimly. He went almost at
once. And then he grew to like It so
much that he forgot all about his
vengeance and began to make money
and an enviable reputation.
His first chance was given him by
The sun. [volume] (New York [N.Y.]) 1916-1920, 1918-11-24

his main idea was obtained from an
account Of soldier show in the
Russo-Japanese war given by Gen.
Ian Hamilton.
Gen. Hamilton tells how during the
Russo japanese war he saw 10000
Japanese soldiers in q beautiful Man.
churian valley attend q highly artis-
tic performance given on a portable
stage standing on bamboo supports.
The drops and curtain, whether for
interior or exterior, were draped on
light bamboo rods. which cleverly
telescoped. similar to the extension
fishing rod.
Mr.. Strong has so far improved on
the japanese and other practices that
the dozen sets OF complete equipment
now ready to go out to the camps,
each including scenery. curtains, back
drops and frames. take up no more
than a few good sized Office desks,
They are equally available for indoor
and outdoor use, and will be an enor-
nous encouragement to the soldiers In
keeping up their amusement pro-
gramme over there.
Il Is the irony of fate that Billy
Weston, the famous tramp clown of
Charles Dillinghams Everything at
the Hippodrome, should be forced to
draw mute music from q tent rope by
playing 1t with his cane, bow fashion,
when his soul is full Of lifting melo-
dies and dazzling appropriations. For
he can make music from any kind Of
an instrument that grows, beginning
with an ocarina and ending with q
pipe organ. He ran away from home
years ago with a wagon show which
gave its initial performance in Mer-
iden, Conn. He brought with him his
precious banjo, which he played in
the performance. And he slept each
night curled up in the Japanese Jug
gler's tub as the wagon jolted along
country roads. Since then in a long
career in medicine shows, burlesques
and vaudeville he has learned to play
by ear every kind OF an Instrument.
He owns a notable collection Of in
struments, including a pipe organ. and
he has arranged several musical acts
Of startling novelty.
Besides being a performer the YER
satile tramp has been owner and pro-
Queer Of shows. During the gold rush
he got together money enough to buy
a 10 cent theatre in Seattle and did a
rushing business with stranded talent
from the East, having AL Jolson and
other now established Broadway IA
vorites doing nine shows a day and
twelve on Sunday for the benefit OF
the newly wealthy.
Later he became owner OF a chain
Of vaudeville houses in the West, only
to be squeezed out" by q manager
who managed to get the acts both
coming and going for his own cir
cult and prevent any OF the big talent
from ever reaching the little theatres
operated by Weston in Denver. Pueblo
| and st. Joseph. In addition came the
crash OF the only bank in San Fran
cisco 10 go to the wall after the earth.
quake, which happened to be the one
tho budding theatrical magnate had
picked to hold his funds.
The sun. [volume] (New York [N.Y.]) 1916-1920, 1918-11-24

no created the title role in "Mr. Barnes
OF New York"
Mr. Gilmour was the original Earl
of Dorincourt in Little Lord Fauntle-
roy" IN spite of the protests of the
author. Mrs. Burnett, that he was too
young for the role. He played with
Viola Allen in "Cymbeline," was the
original Elan, beau with Maude Adams
in "L'Aislon" and Capt. TrumbuH in
Julia Marlowe's presentation Of BAR
bara Frietchie." Two years as leading
man in the original Castle Square
Company in Boston and a season in
the revival here of Shenandoah" then
with Amelia Bingham In 'Olympe,"
with Virginia Harmed in la Belle
Marsellaise' and in Daniel Frohman's
production OF "Notre Dame" and then
Mr.. Gilmour deserted the stage to di-
rect the dramatic department; OF the
Chicago Musical College, n post that
he held for eleven years until he re-
turned to the stage in "a Stitch in
Time"
What would you think OF me if l
were 10 introduce a contortionist be-
tween the acts OF Othello'?" asked Rob
ert Mantell Of an interviewer yester-,
day at a rehearsal OF the tragedy with
which his week at the Forty-fourth
Street Theatre opens Monday evening.
Yet that is exactly what the
veteran tragedian. Thomas Betterton,
the greatest actor OF his time, did in
1909, at the leading theatre in Lon
don. He brought over from Holland
a posture MASTER n Mr.. Higgins, to
entertain his audiences during the
intermissions. So successful was Hig-
gins that the critics present at the
first performance sounded loudly the
praises Of the vaudeville entertainer,
Diminishing Betterton with a few COM
monplace remarks on the excellence OF
his impersonation OF the Moor"
Violet Kemble Cooper in 1.-THE Long
Dash" is n member of one Of the
oldest theatrical families in the Eng
lish speaking world. She Is descend
ant OF the famous Siddons family,
Mrs Sarah Siddons being her great
aunt. Her father was Sir Henry
Irvings leading man for many years
and also leading man for Mrs. Lang
Ilo IlltlScu Will
all the leading actors and actresses in
England and America Fame did not
come readily to her, so Miss Cooper
devoted a few years to the study OF
painting under the great Italian artist.
Chevalier Stopoloni. n study in which
| she Is still Interested. Her first part
of consequence was with Fannie Ward
when she played the ingenue part in
I'm the Bishops Carriage" at the
Aldwych Theatre in London. She next
appeared in America In ]. Hartley
Manners's production, 1.-THE Indiscre-
| ton Of Truth" at the Harris Theatre.
When Peg o. My Heart" with
Laurette Taylor. was produced in
1913 at the Cort Theatre Miss Cooper
had the part OF Ethel, which she also
played when the company went to
London and continued that play at the
Globe Theatre for a year and half.
This successful comedy claimed three
years OF Miss Cooper's career, start
ing in the spring CT 1918 and terminal
ing in the fall of 1916. When Peg o.
The sun. [volume] (New York [N.Y.]) 1916-1920, 1918-11-24

for knowing that the door was there
somewhere. and that n person In leav-
ing the room would hardly negotiate
the window passage.
"If the business called for the sign
ing Of a paper and the accompanying
lines commanded tho business to point
to the paper would be superhuous
The audience knows what Is to be
signed and assumes that the actor,
knowing also, wouldn't stalk across
the stage and sign his name to the
piano or bed.
"Of course one must have what they
call q stage presence, a stage face and
a certain amount of personal mag
netism to be natural and get away
with It. For a number OF years I
played only old man parts. Nothing
Is easier. Given the whiskers and the
The sun. [volume] (New York [N.Y.]) 1916-1920, 1918-11-24
Vaudeville and Burlesque.

Christie Macdonald in an
operetta, "Cupid's Mirror" as
sisted by Irene Rowan and Will
lam Haig. will appear at the
Palace, where the bill presents
Adelaide and Hughes. Clifton
Crawford. Wellington Cross and
what Girls Can Do"
The Riverside bill boasts Nan
Halperin, George White, Harry
Watson, Jr., 1.-THE Master
singers" John Gardner and
Marie Hartman and Susan Temp
kins.
At the Colonial Gertrude Hoff-
mann will top a programme i'm
GLIDING Henry Lewis in a new
act, Rae Oliver Ball. Green and
Katharine Parker and Fred Allen.
Bessie Clayton is at the AL
hambra. Other acts are Belle
Baker, Jimmy Hussey and Will
lam Worsley, Milo and Work
for Uncle Sam" by Samuel Ship
man and Clara Lipman.
The Avon Comedy Four re-
main for a second week at the
Royal, with Hussey and Worsley,
William H. Thompson, Juliette
Dika and Bostoek's Riding
School.
The Twentieth Century Maids
will furnish the entertainment at
the Columbia Theatre,
-
The sun. [volume] (New York [N.Y.]) 1916-1920, 1918-11-24

ton Of Job In Mr.. Walkers dramatic
presentation OF 1.-THE Book Of Job"
During the last two summers Mr.,
Gaul has been a leading member of
Stuart Walkers summer repertory
company at the Murat Theatre In In
d,anapolis. In the last three months
he has ranged from the courtly Van
Tuvl in Romance" to the dashinr
Jules Bedubten In" THE Wolf" with his
Peter WGvertop, the man about town
in "Passersby," his appealing heroics
in Jimmy Valentine" and Seven
Keys to Baldpate." and the fine fervor
OF his Big Hugh in Alice Browns THE
Hero" to give further proof Of his YER
satility.
The sun. [volume] (New York [N.Y.]) 1916-1920, 1918-11-24

didiy dramatic Wusir Mansar. The
following year he was asked to play
the leading role. Hodge the beggar,
but he had already accepted the en-
gagement to appear as the leading
Juvenile in 1.-THE Silent Voice."
Then came the revival Of The Yel-
low Jacket" in which Mr.. Gaul gave a
praised Characterization Of WI Hoo
CIT; but few weeks later he played
the widely different part of the Ian
guild DidJorus in Moliere's "The imag-
mary invalid" Last winter he made
Genesis one of the outstanding parts
in Stuart Walkers production Of Sew
enteen," and in the spring won much
praise for his magnificent interpreta-
The sun. [volume] (New York [N.Y.]) 1916-1920, 1918-11-24
GAUL'S VARIED ROLES.

Destined to be a Presbyterian minis
ter. George Gaul, in Remnant" upset
parental calculation by his success as
ShyIock in amateur dramatics at Law
renceville School. Not long afterward
he became a professional by virtue OF
an infinitesimal part in The Richest
Girl" Of which Marie Doro was star.
after which he became a butler, serv-
iLg tea to Billie Burke in Love
Watches" Then came Shakespearian
roles in the Coburn Romeo,
I0nchStonc, CLAUDIO in Much Ado"
and important parts in "Iphigenia,"
Electra" and other Greek plays.
The next season saw him with Otis
Skinner In "k!smet" as the Storm
I Cllcr, and later he played the sp,en-
The sun. [volume] (New York [N.Y.]) 1916-1920, 1918-11-24

BE natural; be yourself; don't let
on you're acting, for IL you do nine
times out of ten the audience won't
believe it," is William Golfers advice
to stage aspirants.
1.-THE first six years OF my stage
career. that l started with Augustin
DAILY, beginning as n call boy when l
was IL years old, I heard him instil
this into the minds of his actors, and
Gterward into me. He was n stickler
for. spontanelty. He loathed the the
atrlc pointing to the door as one on
the stage commanded another TO leave
the room. He gave the audience credit
The sun. [volume] (New York [N.Y.]) 1916-1920, 1918-11-24

rest Of the makeup. a girl OF 16 can
play an old man.
THE part, not the player, is respon-
sible for the applause. The first time
I appeared on tho stage uncamou-
fiaged I thought would collapse.
was afraid the audience would recog-
nize me. 1t did. and, frankly, 1t liked
me.
Neither am I particularly stuck on
holding the centre of the stage. II an
actor plays always in the centre of the
stage he is naturally expected TO score
continually. If he sticks around on
the outskirts the audience Is looking
for something else. and his hit Is all
lhe more unprecedented and appre-
lated. while II he Is supposed to hit
and fails the audience is none the
wiser"
In order'that American soldiers over
there should be able literally to stage
at any place theyNare billeted the en-
tertainments in which they have been
coached by the Training Camp Com
missions dramatic directors over here.
Uncle Sam is providing them with a
new device in the way of portable
stage equipment which occupies no
more space than n small sized trunk
and can be set up. taken down and
packed away within n few minutes.
The new contrivance is the work Of
Austin. Strong. playwrieA., whose
Drums of Dude" has list been
printed by fhe Government rnr the use
OF the commissions dramatic direc-
tors in camp, and who is now giving
his time to the duties OF librarian for
the play division OF the Commission on
Training Camp Activities. Although
Mr., Strong has utilized some. Of the
features Of, the Portmanteau Theatre
The sun. [volume] (New York [N.Y.]) 1916-1920, 1918-11-24

cordingly. Miss Cooper is again on
Broadway. and playing a part that, as
she expressed it, appeals to her In
every possible way"
The sun. [volume] (New York [N.Y.]) 1916-1920, 1918-11-24

ADJUSTMENTS
The sun. [volume] (New York [N.Y.]) 1916-1920, 1918-11-24

r the many occupations from
which II war Mattresses
who nov take the place of
The sun. [volume] (New York [N.Y.]) 1916-1920, 1918-11-24

AMUSE MENTS.
The sun. [volume] (New York [N.Y.]) 1916-1920, 1918-11-24

When Nine. Modjesl1a died she wihed
the thumbed and dogeared copy OF her
part OF Rosdlind in "As You Like It"
to Gildo Veresi, for several years her
understudy In the shakespearian
plays.
upon you may SSy mantle faii!"
Evening capital and Maryland gazette. (Annapolis, Md.) 1910-1922, 1918-09-04
EIGHT BILLIONS,
WHAT 1T MEANS

To collect within a few months S.
600 900 900 is the task confronting the
Bureau Of Internal Revenue. This is
the amount the new revenue bill now
being framed is expected to yield. 1t
is difficult to realize the immensely OF
this sum, and yet $4,000, 100000 is less
than one-sixth of the annual income
of the United States, which has pledg-
ed its entire resources to the success
full prosecution of the war. How well
this pledge is being carried out is a
matter of present day history.
In order to bring to the mind of the
American people a comprehension OF
the sum they will be called upon this
year to contribute by direct taxation
to the support of the war, the Bureau
of Internal Revenue has prepared a
set of figures showing that if divid-
ed according to population it would
mean a per capita tax of $76.76 or
more than 1886 per family. The
amount of money in circulation
August /, 1918, among population of
lO6. O12 900, was s52.44 per capita.
American farms in 1910. the last CEN
sus year, was $4,000 100000. The to-
tai value of all live stock on farms
January /, 1910, was slightly less than
s., 0O0, 000,00 In one year. there
fore, the taxpayers, according to the
proposed terms of the new bill, are
called upon to pay more than the ag-
gregate value of all farm crops in the
United States in 1910, plus the value
of ali farm animals.
The tax amounts to practically one
third of the total value of manufac-
tured products as reported to the
Census Bureau in 1914-$24. 246,4S5,-
600. The value added to raw mater
iafs by manufacture, which repre-
sents the wealth produced by manu-
featuring, was in 1914, s9,S7S,S46,OOO
or but 23.4 per cent more than the pro-
posed tax levy.
These figures are presented by the
Bureau of Internal Revenue, not with
the view of preparing the American
people for heavy sacrifices, but to
bring home to them sense of their
responsibility in the way of necessary
economies. The new revenue bill is
being drawn in manner to impose
the least burden possible Every man
will be assessed according TO his in
leach viii be called upon to do
his share.
The amount of Federal taxes col
Evening capital and Maryland gazette. (Annapolis, Md.) 1910-1922, 1918-09-04
AT THE COLONIAL TOMORROW

Superb Pauline Frederick, in mag
nificent screen version of Victorien
Sardou's celebrated stage play, "Fe-
DORA" will be the extremely pleasing
attraction at the Colonial tomorrow.
This is an unusually strong photo
play, and the story affords Pauline
Frederick one of the finest portrayals
of her career in the silent drama. 1t
is story of Russian love and politi-
cal intrigue, and like most of Sar-
dou's creations, the theme is intense
ly tragic.
Pauline Frederick gives an evtreme-
ly vivid portrayal of the arduous role
of Fedora a Russian princess of
beauty and wealth, whose fiance,
Count Vladimir Audrovitch, is mys-
teriously slain on the eve of their
wedding, and whose murder she firm
ly resolves to avenge.
Fedora" is he/strangest of all of
the stages immortal heroines. Her
hatred for the man she really loved
and his burning love for her have been
made the theme of stage play and
an opera.
Nine Sarah Bernhardt played the
part on the spoken stage. Lima Cav
alert was Fedora" in opera, and
now Pauline Frederick will make the
part live forever on the silver sheet.
Comedy reel also.
Evening capital and Maryland gazette. (Annapolis, Md.) 1910-1922, 1918-09-04
HELPING THE
WAR-BLIND
Work Done In France and England
BY An American At Request OF
Two Governments

AS the result of the successful work
done for the blind at Ampere, New
Jersey, where they are earning their
DR.. Schuyler S. Wheeler, president OF
the Crocker-Wheeler Company. cleo
trical machinery manufacturers. re-
Gently spent three months in France
and England introducing his system
of blind work in those countries. on
the invitation of their respective gov
ernments. AS the United States is
facing the possibility of American sol
diers being blinded. DR.. Wheeler's
trip is of special interest.
France. found that they had
adopted the paternalistic attitude to-
ward the blinded soldier" he said.
whereas, in England. under the able
direction of Sir Arthur Pearson, the
idea is to fit the soldier for further
use in the commercial world. In Eng
land they strive to make him indie
pendent and able TO earn his own liv-
ing. The English idea must be the
American as the people of this coun-
try believe that every man, blind or
sighted, should have the opportunity
of earning his own living.
There at st. Dustan's. the Blinded
Soldiers and Sailors Hostel in Lon
don. the men are taught a dozen
trades, from cobbling TO massage.
They are taught to write their let
tiers on the typewriter and to do
stenographic work. They are gradu-
ated able to earn their livings in
competition with sighted workers.
More than 500 are now doing this and
OF this number, more than $50 are
earning more money than they did be-
fore they entered the army and lost
their eyes. This is a splendid record
and shows the way to us when we
have to face the same problem"
DR.. Wheeler found that while the
French insisted the blinded soldiers
should only do such work as they can
do at home, the English believed in
| fitting them to take their places in the
workshops and factories as they did
before they sacrificed their eyes for
liberty. He believes that this idea
oAOuhu NC dOOptSu mere anu eSldDilSUeu
his blind workroom at Ampere to
prove that it was possible. This work
room, known as the Double Duty Fin
ger Guild, does exactly the same kind
of work as is done in the factory of
the Crocker-Wheeler Company The
blind insulate the coils used in motors
and dynamos and do their work as
effectively as the sighted workers. In
addition, the blind are doing other
work hitherto done by the sighted such
as weighing and stacking rotor cores,
assembling and riveting pole shoes,
sorting punching and tapping field
coils. Graduates of the Guild are
working in other factories. Five are
sticking pins in cards in the factory
of the Consolidated Safety Pin Com
pany of Bloomfield, N. j.; two are
helping build tire treads and attend
Evening capital and Maryland gazette. (Annapolis, Md.) 1910-1922, 1918-09-04
AT THE REPUBLIC TOMORROW

Admirers of Virginia Pearson, who
remember her with gratitude for her
sterling performance in 1.-THE Fire
brand" and Her Price," will be
pleased to learn that she will be seen
at the Republic Theatre tomorrow, in
her latest photodrama, THE Liar,
which is described as showing a STIR
ring battle of a young mother to clear
her name and that of her unborn
child of terrible blot.
Miss Pearson, in 1.-THE Liar" por-
trays the role of young girl, whose
father, the owner of Haitian planta-
ton, has just died. The girls hand
is sought in marriage by the superin-
tendent of her fathers plantation, but
she refuses him and accepts an aris-
tocratic young Virginian.
Seeking revenge, the superinten-
dent goes to the girl on her wedding
eve and charges that there is negro
blood in her veins. The girl laughs
at him, but months later, fhen she is
about to become a mother, the super
intendent again makes the charge,
this time with papers which, he says,
are proof of the truth of his allega-
ton. Through a ruse.the young moth
er. battling to clear her own honor
and save her husbands love, makes
her prosecutor admit that his accusa-
ton is baseless.