davidaulloa/AmericanStories huggingface dataset:
Arizona republican., 1919-05-17
News.

NEW YORK. May 16.-The further strength of today's stock market, es- pecially the demonstration in rails, seemed to imply that Wall street looks forward with confidence to the cOnven- ing of congress in the coming week. At no period since the inception of the bull movement, now some three months back, has the accumulation of transportatiOns been so comprehensive or consistent as was witnessed in the course of today's very active session.
 Gains among Pacifics, grangers, coalers and cotton carriers ranged from 1 to F points, but secondary is sues were not overlooked, Texas and Pacific, Missouri Pacific, Chicago Great Western, Rock Island, Southern l Railway, Erie and Pere Marquette making substantial advances.
 Profit taking cut heavily into the rails during the last hour. United l States steel held only a small fraction | of it's extreme advance of 1$s points, and other steels and equipments eased l toward the close. Sales amounted to | 100000 shares.
 Further collapse of exchange OF 1 France and Italy attracted little atten- i tion save in banking quarters. Call money was distinctly easier, with time l funds in scant supply.
 The general bond market was strong 1 except fractions, which eased on the 1 setback in stocks. Total sales par
 value, aggregated S13,27500 Old ] United States bonds were unchanged ! on call.
 NEW YORK, May 16.-Dun's says: With a freer function of national 1 economic forces permitted by the fur ther removal of artificial measures, 1 discordant notes in business are be- l coming fewer and fainter and are be- 1 ing steadily replaced by more frequent l and clearer expressions of optimism 1 regarding the future. The great iron
 and steel industry. for months re-
 pressed by price uncertainties, now l gives indication of a reaWakenine
 under the return of strictly competi- i tive conditions and the copper trade
 although slow to experience recovery
 is also beginning to show signs of re-
 newed animation. While the gain il
 these lines is yet mainly one of a mor,
 cheerful sentiment, there are multiply
 ing evidences of a decided increase O
 actual orders in some other leadinI
 branches, as in textiles and hides ant
 leather and footwear. and reports that | transactions are running beyond cal
 culations are growing more common. Weekly bank clearings S6,537,20S.149
Arizona republican., 1919-05-17

LIBERTY BOND QUOTATIONS Furnished Daily to The Republican
 by R. Allyn Lewis, Adams Hotel Bldg.
The sun., 1919-10-05
FAY'S FAITH.

Although Frank Fay, who is appear
ing in "Oh, What Girl" at the Central
Theatre, is a comedian he has never
during his experience related a So
called /"joke" on the stage. Certainly
In this respect he is unique. For many
years he was a Juvenile and straight
leading man. He even played with Sir
Henry Irving and later with Edna
May in "The Catch of the Season"
This was some fourteen years ago. 1t
was while appearing in THE Chorus
Lady" that Fay conceived the idea of
deserving the type of parts which he
had been portraying and becoming a
comedian.
Il felt that should show the world
that its conception of humor was
wrong" said Mr.. Fay a few evenings
ago in his dressing room. II believed
that entirely too much effort was be-
The sun., 1919-10-05
PLAYS THAT LAST.

Astor, "East Is Vest; Bijou,
"An Exchange of Wives; Broad
hurst, "The Crimson Alibi"; Ca
sino, "a Lonely Romeo; Central,
"Oh What a Grip; Century,
"Chu Chin Chow; Conan & Har-
ris, "The Royal Vagabond"; Com
edy, "Up From Nowhere; Critic
rion, Thunder; Forty-eighth
Street, "The Storm; Forty
fourth Street, Schubert Gaieties";
Fulton, "John Ferguson; Gaiety,
'Lightnin"; George M. Cohen,
"See-Saw"; Globe, Thurston; Har-
ris, "The Dancer; Henry Miller's,
Moonlight and Honeysuckle';
Hudson, Clarence; Knicker-
booker, "Roly-Boly Eyes,; Long
acre, "Adam and Eva"; Lyceum,
"The Gold Diggers"; Manhattan
Opera House, Ozark Rosaleen"
Maxine Elliott's "First Is Last;
Morosco, "Civilian Clothes; New
Amsterdam, "Ziegfeld Follies";
New Amsterdam Roof, mine
O'clock Revue" and midnight
Frolic"; Nora Bayes, Greenwich
Village Follies"; Playhouse, AT
9:45"; Plymouth, "The JEST;
Princess, "Nighte Night; Punch
and Judy, where's Your Wife?";
Republic, "a Voice in the Dark;
Selwyn, "The Challenge; Shu-
bert, "oh What Grip; Thirty
ninth Street, Scandal; Wander
bilt, "She Would and She Did,;
Winter Garden, schubert Gale
ties"
The sun., 1919-10-05

ing expended by the average comic
before he could make an audience
ehortle Filled with the desire to make
my own theories understood deserted
the dramatic stage and launched forth
upon a new career. 1t took me almost
seven years before 1 could get the
booking agents and managers to give
me a chance. When a manager en-
gagged me / never got very far, for
when he learned what my style was
going to be was fired. Finally I
managed to get a hearing and my
act, 1 am glad to say, went over.
my idea of comedian is a man
who can face an audience and make
them laugh by virtue of his innate
humor. His humor should not have
points, and in this connection want
to say that I have never told a joke
on the stage in my life. Neither have
resorted to props or comic makeup.
have particular aversion to clown
ing in the usual meaning of the word.
Harry Kelly, one of my coplayers in
oh, What Girl, Is the first and only
comedian / have ever seen who could
make me laugh, although he resorts
to an exaggerated makeup. The
reason of course lies in the fact that
he is perfectly natural Kelly Is not
The sun., 1919-10-05

~while we were playing in one
town hall for a night, the advance
agent would go ahead to another town
hall and find out whether we could
play there for a night. Then he would
tell us II we could, and we would all
troop up there and adorn It with The
Fatal Flower
Il did a year Of this sort OF reptile
work in the tall grass country. Then
the company broke up, and 1t was my
cue to find another engagement,
which seemed easy until came to
the practical test My mother and I
had enough money, we considered, to
last us comfortably for two weeks,
and we thought that was more than
ample. Well, that money had to last
twenty weeks.
FINALLY / came on to New York to
see the managers personally, looking
just like the gawky girl describe in
this play. 1 had pigtails sticking
down my back like spikes. and then I
was plain-well, plain wasn't the
word. Ugly duckling' was the de-
scription made for me. That didn't
help any. And 1 was absolutely un-
known to the managers. So you can
imagine how near / came to touching
their hearts. The drama here was
waiting for mel knew that myself
but the managers weren't. So went
back home.
Then happened to see Harry Lau-
der for the first time at a perform
ance and nearly laughed myself out of
my seat. He tickled me so much i'm
itated him when went home-it was
the first time I'd ever done any con-
scious mimicry. but It was one Of those
turning points. Somebody who hap
pened to see my imitation said, "Thet's
very good. why not do It on the stege
and be paid for it?'
THE idea met with my persona; in
dorsement. / wrote to a music pub
l1isher for a couple of LADDERS songs.
and, must admit, I walked away with
most Of his act. 1 tried II on a book
ing agent-he liked it-and the first
thing knew was in vaudeville doing
limitations.
And hadn't started out on the
stage with the aim of doing limitations
at all. When ! was a child I used to
do very dramatic acting at home-I
took my art very seriously then. ]
used to emote all over the place. ]
only wish I could actin a dramatic
manner-half so we'll now. 1 rather
think should like to do some emo
tional work occasionally. only I fear
couldn't live up to my youthful stand
ards"
| Concerning limitations Miss Claire
had few words to say on the COM
ments from several of the dramatic
pundits that their eagle eyes had de-
tected traces of mimicry in her present
role. The star declared that in this
play she wasn't initiating any one but
herself.
I'm afraid" she said with rueful
smile, that charge of being only a
mimic is going to stick to me hereaf-
ter closer than a brother. Ever since
left the 'Ziegfeld Follies and went
into straight parts it's been flung al
my head. Occasionally in playing a
The sun., 1919-10-05
WITH MUSIC.

w THAT Is the difference between
w the play with music" and
the musical play? Most
theatregoers use the terms inter-
changeably. Henry w. Savage mild
ly interjects May 1 not protest?"
For to him there Is as much
disparity between the play-with-
music and the musical play as be-
tween Thomas Kyd's dramas and
Ibsen's. Kyd stood for the old order
in playwriting: Ibsen was a modern.
And in the same way the musical
play Is old style. while the play-with-
music is new. Now according to Mr..
Savage, the new style is not merely an
outgrowth or development Of the old.
The difference is basic. But Mr..
Savage admits he never realized how
basic until he attempted the produc-
ton OF his latest offering, "See Saw"
at George M. Cohan's Theatre.
See Saw" is true example OF the
play-with- music, Mr.. Savage says.
He realized this forcibly when the
icea was first submitted to him. For
1t was with the play alone-and a few
sample lyrics-thnt Earl Derr Biggers
came TO the Savage office. II Mr..
Savage liked his play. Mr.. Biggers
suggested that he would look up a
composer to write some music fitting
a dozen situations in the plot. All Of
which seemed rather unusual to Mr..
Savage, who for years had been hear
ing the music first and accepting the
book" afterward' as a matter OF
course.
Suavely he suggested something Of
this sort to Mr.. Biggers. But don't
you see," countered the playwright,
that this is not musical play?"
Nor" inquired the manager What
them"
"A play with music There is a
difference. you see."
Mr.. Savage didn't exactly see. He
read the manuscript. which seemed
to him a sparkling American comedy.
According to his judgment 1t was a
bit plotheavy for a musical piece
and down deep in his heart he was
disturbed at the thought of deserving
his operetta for any new and uncer-
tain adventure. Musical plays had
brought him success from THE
Yankee Consul to "The Merry
Widow" Therefore 1t was with some
hesitance that he succumbed to "See
Saw"
This hesitance became a misgiving
The sun., 1919-10-05

when the casting OF the new play
began. For having tried out scores
Of players, many of whom had been
under his direction In former produc-
tons, Mr.. Savage discovered that the
play -with-music demanded interpreta-
ton by veritable virtuosos versed in
the arts Of singing. dancing and
acting. Such versatility seemed too
much to expect OF n single human
being. At least Mr.. Savage came to
this decision after he had tried and
found wanting a large number OF
players. Those who sang or danced
well could not act: few Legitimate"
actors could either sing or dance
Meantime, however. having heard
the music written by Louis Hirsch for
see Saw" and reread the plot. Mr..
Savage announced himself a convert
to ays-with-music. So enthusiastic
he became over the possibilities Of
this new style of musical entertain
ment that he declared he was finished
with operetta forever. The play with
music was modern, American and in
telligent. 1t never creaked with the
conventionallties Of operetta. Seeking
to define the distinction between play
with-music and musical play, Mr..
Savage accepted It thus: one was
founded on story, the other on a
score.
A cast for "See Saw" was finally re-
cruited--'Sby miracle" Mr.. Savage has
said. Most of the principals were un-
known to Broadway. or, as in the case
OF Frank Carter, the leading man.
were unknown previously to the play
with-music. Half a dozen Of these
newcomers were made" on the OPEN
ing night The entire see Saw" COM
pany proved one of the most interest
ing ever assembled by Mr., Savage.
But now he has begun to look
ahead: to reflect that in future pro-
auctions of the -with-music he
can scarcely rely on miracle Of cast
ing. Therefore he has founded a
training school among his chorus Of
"See Saw to fit these girls for prin-
cipal roles. The curriculum prepared
by Mr.. Savage for his student chorus
sounds interesting, II strenuous. Every
day the young ladies attend classes
| with a physical instructor, a teacher of
diction and vocal or dancing teacher.
Twice q week they are coached in
stage department and technique by
John Mckee, general stage director
for Mr.. Savage. Once a week Mr..
Savage himself lectures to them. And
every evening, Of course, they appear
In see Saw"
The sun., 1919-10-05
NEWS AND GOSSIP OF THEATRES

Becky Sharpe" Julia Arthur in "A
Lady Of Quality" Bessie Mccoy Davis
as The Yama Yama Girl" Holbrook
Blinn in THE Boss" Edna Wallace
Hopper and her four and twenty little
men In 1.-THE Silver Slipper" Louis
Mann in "The Telephone Man." Clara
Lipman in 1.-THE Girl from Paris"
Willie Collier in The Man from Mex
ico," Henry Miller aud Margaret
Anglin in "The Great Divide" Frances
Starr in "The Easiest Way" George
M. Cohan in 1.-THE Governors Son."
Fay Banter in 1.-THE Willow Tree"
Ina Claire in 1.-THE Quaker Girl"
Blanche Bates in The Girl of the
Golden West" Grace George In "Di-
vorcons," Ralph Herr in "The Love
Kiss" valli Valli in THE Purple
Road" Otis Skinner In "Kismet."
Leonore Uric in "Tiger Rose" Amelia
Bingham in The Climbers" Patricia
Collinge in "Pollyana," Ruth Chatter
ton in Daddy Long Legs" Burr Nc
Intosh in "TTlby," Thomas e. Shea in
"'The Bells" Mary Nash in within
the Law" Florence Nash in 1.-THE
Woman" Efingham Pinto in "The
Climax and Jess Dandy I'm ''rhe
Prince of Pilsen."
At the finale of the first part all of
The sun., 1919-10-05
Vaudeville and Burlesque.

PALACE-Irene Bordoni and
Lieut.. Gitz-Rice will sing and do
neat lingering on the piano respec-
lively. Bee Palmer, with her Jazz
band and trained shoulders, re-
mains as an heirloom from last
week. Valerie Bergere will ap-
pear in "The Moth" a comedy by
Emmett, Dewey, thereby relieving
the strain for the audience of
watching Miss Palmer's shimmy
continuously. Williams and VOL
fus will stampede their act,
'rHarkl Harkl Harkp all over the
stage.
RIVERSIDE - Irving Berlin
will present his smile again in
vaudeville after several seasons.
with new songs on his mind and
Harry Akst keeping the piano on
the jump. Charles King in
'Dream Stars" Billy Bailey and
Lynn Cowan, and Joe Laurie will
be stacked up around the River
side News Pictorial.
AMERICAN - Paul Pereira,
Portuguese violinist, will appear
with his sextet Of violinists on q
string; Barron and Burt, in a bit
Of mock politeness called "Shut
Up; Stewart and Patten and
company trying to get accustomed
to "An Unexpected Honeymoon;
and Lane and Plant will be among
those who will take measures to
overcome the handicap of Charlie
Chaplin in "The Floorwalker."
COLUMBIA-The Jacobs and
Jermon Association, led by Ed
johnson and Juliette Belmont,
will have their annual excursion
here with "The Golden Crook"
The sun., 1919-10-05

role I have stopped and thought how
certain star might play 1t under the
circumstances, but on the whole the
character was a personality in itself
and not made up of odds and ends of
other personalities.
I'm fact, in this part they told me
just to play myself. That seems rather
difficult to me-to be myself act nutty
and make the character interesting.
For there are a lot of other persons
who interest me much more than my
self. The other chorus girls in this
play, for instance-they're a whole
world in themselves. That's a feature
Of the comedy that hasn't been suf-
ficiently remarked; the fact that the
girls are all OF such widely diverse
natures, and not at all on the same
plane on which the public pictures
them--the comic supplement type Of
chorus girl"
Miss Claire added that she hadn't
based her Characterization on any
types she had found backstage in the
"Follies," because. as in the Belasco
production, she had seen such a
variety that an average didn't exist.
There were all styles. she said, from
the straightlaced to the widest, with
the most divergent ambitions, and yet
sharing a common life in the theatre
as completely as soldiers in a barracks.
In the dressing room the most fas-
tidious would swap troubles with the
most easy principled-yes, and laugh
at the Jokes OF the latter. Then after
the performance the stage door would
lead them out into totally different
lives.
i've known chorus girls. like the
one play" she said, who were good
friends with men, went to supper with
them and rode In their automobiles
and did 1T all without any Interior
motive. The public may not have such
AN idea in their heads but the men
expected no more OF such girls than
that they should be good companions
and say funny things. Though l don't
think girls should accept presents pro-
miscuously. I've known girls to do 1t
and no harm come OF it-but the WISE
acres won't believe IT,"
How does II feel to be a starr" in
quired the interviewer with malice
The sun., 1919-10-05
THE FIDo BENEFIT.

At the testimonial performance ar
ranged by the Actors Fidelity League
for Sunday evening, October ~, at the
Century Theatre galaxy of stage
stars will appear in roles long familiar
to theatregoers.
The programme has been arranged
in three parts. the first consisting of a
novelty known as "Yester- Thoughts
Of the Stage" The stage proper will be
arranged in three sets. The first will
be a library scene in which two vet
eran devotees OF the theatre are in
dulging in "reminiscences and conjur-
ing before their vision their favorite
players In their best known parts. As
each name is recalled and discussed
the player in question appears in one
OF the other stage sets in the role for
which he or she was best known and
the big scenes will be acted.
Those already cited to appear in this
bit Of stage lore are Mrs. Fiske in
The sun., 1919-10-05

gave promise Of doing good work. I
said to them that we would engage
them for the following year II they
would study during the summer
months. We offered to pay for their
elocution, dancing and fencing les
sons, three essential features for a
good player Of any school. BY elocu-
ton I mean distinct musical speech
unslurred, and though not precise
articulate. This should be required Of
all players, though in modern drama
actors do manage to do without IL,
but no one can escape its necessity
are necessary in classical plays, but
they would help any actor in modern
plays In the matter of grace, carriage
and department.
1.-THE young people in question ca
gerly assented. It seemed only Just
that we do this, for a young person
cannot be expected to have the money
to afford this training. I had to get
along the best I could, earning my
way while learning my art. So made
arrangements for the lessons. Mrs.
Sothern and / sailed for England
Not long afterward the instructors
wrote us that since only the girls
were coming for lessons it seemed
unfair for us to be paying for the
boys. AS a general rule we find girls
will take their work much more serl-
ously and thoroughly.
Preparation is so necessary, but
il 10 lost sight OF Oh the stage nova
days. When Mrs. Sothern first went
to Parsons Price he told her that she
would never succeed because she had
no middle register in her voice. Very
few people have, as q matter of fact.
Mrs. Sothern went away. worked for
six months. and returned to Mr.. Price.
He discovered she had developed a
middle register, and he took her as his
pupil. How many young people Of
to-day would do this?
There is, however, considerable
complaint among playgoers that Of
ten they cannot understand much OF
what is said on the stage, fault due
to lack of articulation. And yet |
was once told by a member Of my
company that when she applied to a
manager for position he said: You
are from the Sothern and Marlowe
company and there is no room in my
plays for your sort OF talk When
she asked him what he meant he re-
piled: My actors must talk like folk
talk or in other words they must
slur their speech. The result is that
We have slipshod speaking infesting
our stage, The most deplorable fea-
ture of it is that this is the example
set for the newcomers"
The sun., 1919-10-05
:" THE REPERTOIRE IDEA.
Iosn RuBENs is playing in ct

ToSB RUBENS is playing in '.The
Dancer at the Harris Theatre
the part of an impulsive Rus
sian theatrical manager. and he is
exuding artistic temberament all over
the scene in such a role for the first
time in his life. He has made a dis
tinct personal impression on audi
ences with it-and thereby hangs the
word repertoire"
Though he has travelled extensively
on the continent Of Europe and had
| an opportunity to study Russians
and Frenchmen of such q volcanic
nature at first hand. he feels he has
been able to get under the skin of
| the character without carefully
mimicking any type that struck his
mimetic sense. 1t is rather to the
all around powers of impersonation
developed abroad that he would
| ascrtbe his ability to become explo-
sively Slavonic by merely willing it.
For Mr.. Rubens, who is of French
blood. has made an intensive study
| of acting in France, and is deeply
| convinced that American actors would
| be greatly benefited by being edu-
Gated for the stage after such a whole
sale fashion.
I'm Europe To- actor is trained to
| play any part he can carry phys
ically," said Mr.. Rubens backstage
the other night while the heroine of
Edward Locke's play was throbbing
| through her troubles. "Over there a
manager does not pick out a man in
a Childs restaurant and say to him:
You are just the type am looking
for. Can you act7 No? Good. I will
show you how to acti'
\ They do not choose actors because
they are types. but because they can
play. II a man has studied at the
Paris Conservatoire-as I have-he
can play. Any man who played all
sorts of parts for four years under
Sarah Bernhardt--as did-comes
pretty near knowing his business. And,
short of physical obstacles. there Is
no part that an actor shouldn't be able
to portray.
| I'm this country a manager will no
tice, for instance, that an actor did
very we'll playing the part of a Japa-
nese. He will not engage him for any
other part, because all the time that
word Japanese will be sticking into
the managers mind. He may wait
five years before he finds a Japanese
part to At the actor-then he thinks
everything is lovely.
! "Of course, to a great extent, this is
due to lack Of general training on the
part of the American actor who can
only do one thing. and considers that
acting. Does acting in stock remedy
this deficiency? No-sometimes 1t is a
handicap. Knowing half the method
of acting. you think you know all.
You have the courage of ignorance,
which sometimes ends disastrously.
| mo, the cure lies in a conservatoire
Ia repertoire theatre. Repertoire
playing makes an actor play up, play
up constantly. 1t keeps him alert
There is one man here who under
| stands this. and understands it thor
oughly. He is Henry Miller. And
some day the American stage must
come to 1t too"