davidaulloa/AmericanStories huggingface dataset:
New-York tribune., 1920-10-24

is now in perfect working order An
other innovation in the electrical equip
ment is the remote control of the light
ing of a set. BY this means it is pos
siblc for a director to arrange the
lights before taking the picture, CON
meeting them in such a way with a re-
mote control box that the control Of
the lights is centralized, allowing them
to be operated by tn" camera man and
doing away with the necessity of a
number of electricians after the lights,
have been set. The remote control
boxes are wired in such a way as to
permit the turning on of any one or
all OF the lights by the camera man.
The carpenter shop is divided into
two parts. Adjacent to the lower stage
is the shop housing the heavy machin-
cry, and directly above, with ample
space and facilities for passing mate
rial to and fro, is the assembling and
nnishlng shop. Both shops have ac-
cess to the stages through enormous
doors, large enough to permit passing
or assembled sets through to the stage,
and separated from the stage pv enor--
nous sound-proof sliding doors. The
shop Is now in full operation.
The wardrobe department. situated
between the dressing rooms for the men
on one side and for the women on the
other and occupying an entire floor.
mas closet room for 10000 gowns. AT
each end are two fitting rooms, where
the elaborate wardrebes REQUIRED by
the stars and leading women may be
designed and fitted.
The still photograph department is
gradually working into shape. until
within week it Will have the hquip
ment to turn out 10000 stills dav.
using all modern, up-to-datc eouiD-
ment; IN fact, no expense mas been
spared to make the still department tho
most complete in the country pho
togreph gallery in charge Of an expe-
rienced photographer contains every in
novaton that has been perfected 10
make 1t the best portrait gallery in the
East. The gallery is within easy ac
cess OF the stage and has three dress
ing rooms for the convenience of the
stars.
The art and decoration department
with personnel of eight architects
under the direction of Robert NJ.
Haas, occupies q suite especially con-
structed for it to provide abundant
light. The research ; department.
which is subdivision of the art and
decoration department. has been es
tapIlshed In an adjacent room, which
is large enough to allow for the valu-
aoie library that Is beipg compiled for
its use.
In a special valuable property room
are stored the sets of silver for dress
ing table or dining room. extensive
vases, China and cut glass, tapestries
and jewelry, the room providing everv
safeguard against theft
Ihe scenario department, which has
New-York tribune., 1920-10-24
Only Scots Need Apply

Reginald Barker, who is directing
the production of "Bunty Pulls the
Strings for the Goldwyn company,
made strange stipulation while Sc
lecting the extras who were used in
the picture. Only applicants bearing
names beginning with Mac" or those
with names like Lindsay, Douglass,
Duncan or Cameron were allowed to
pass the portals Of the studio Of
course, Mr.. Barker conceded, q person
might have name suggestive of the
land of heather and not be Scotch at
all, but the chances were all in favor
OF getting men and women who could
tit into the picture better if he in
sisted on good old Scotch names An
entire village was built on the studio
grounds at Culver City for "Bunty
Pulls the Strings" and the quaint
houses and crooked lanes cost small
New-York tribune., 1920-10-24

music box in t. AMI when .bs
strikes little children come an. "ouf
play on shelf. I've taken .bae "a. eao
and put II together again. lvs 80 80
everything mechanical auar, IN
owned since my first Fourth os s I-'s
pistol 'cept my pianola." 81!
GU Ike music. sir Craven 30
Like It? reverence II Fr
thing. too; ! 90 to the onera ever. -,l 80.
| have the price ard am not cling '' a..
always listen with my eyes CO.
The fellows kid ne about s'een,sre !.
the opera. but its the only va =.
enjoy the music. prefer - p;c,r..
with my imagination the tn,nes -.
composer IS speaking aboat. ra.s..
than to look for taem. And Do.
care for singers; sopranos get a.
stout" ~
AS the Interviewer turned to %
Craven called out in ,ne passage: ~
Say. cant We get thar lire in e's,.
tric lights on top Of the Net tows.
so every man and woman who is wor..
ing too hard can see i-; you snow-
Plays the Thing"
New-York tribune., 1920-10-24
Interesting Chat and Stage Gossip for Playgoers g
In Which East Meets West
And Explains the Meaning
Ut the Ancient NOh Drama

selves. All that Nine. Serova said was
this year. He will do little of Minis
and l will do little of his" So we
went to the Office and read up on them.
Here is q part of what we learned:
New York first heard of Itow through
returned art devotees from London,
where he was then the reigning sensa-
tion. The foremost dancer of Nippon, he
dances as we'll as he speaks the Occi-
dental form. Having received the
highest honors in Toxic and other
Oriental cities he journeyed to all the
leading Continental cities, and if one
may believe the press notices his path
way was strewn with roses.
In Paris, London, Petrograd Madrid
and Vienna he added new laurels. He
is brilliant musician, an artist of dis
tlnctlon and an actor. In America he
has not only danced and acted, but he
produced "Bushida" as we'll as the Jap
anese part of "What's in a Name" last
season
This season he will present for the
first time in New York examples of the
Noh dramas of Japan. These music
dramas were the vogue for two years
in London while Mr.. Itow was there.
Mr. ltow has lectured all over the
"ofIu on Japanese music, drama and
art and last week he was heard before
the Drama League of America on the
art of the Noh drama He says that
the classic dance-drama of Japan has
descended unatercd for several CEN
turies. These Noh dramas have arisen
to their present perfection, he says,
out of the remote past. In them the
actors conceal their faces by specially
modelled masks. The Brooklyn Mu-
scum has a wonderful collection of
such masks, and they nave been offered
to Mr.. ltow for his new productions.
"The discipline of the actor is a
moral one, Mr.. Itow declared. "Hc
yields himself up to possession by the
character. He acts as if he knew him
self to be a god"
This much of the discourse we un-
derstood. ooh. yes, indeed" we an
swered glibly, "of course he does All
of our matinee idols have the same
idea Gods you know-that's them!"
"lm afraid you don't understand" :"
said Mr.. ltow sadly. Perhaps not the
Noh drama. But actors? Yes.
New-York tribune., 1920-10-24

tons and pro- lection appliances in this
The directors have been provided
with private Offices and there is a pro-
lection room for every four. Their Of
fees are within convenient distance of
the cutting room and the stage A
greenroom in which they may confer,
equipped in clubroom style, forms an
additional convenience.
The suites provided for the stars,
each consisting of a secretary's room,
reception room, dressing room. bath
and ample closet room, have been
tastes. The dressing rooms arc pro-
vlded with modern equipment and, un-
like most dressing roooms, are COM
Portable
The Offices occupied by Arthur V.
Smith and his assistants are situated
at the right hand entrance of the
building, permitting easy access to the
stage or the street.
The restaurant, which is situated in
the basement of the studio, is being
rushed to completion, and when fin
lshed will be operated by Reisen-
webcr's. 1t will be modern in every
respect The furnishings are in delft
tile. There will be lunch counter
end individual tables. The seating
capacity will be six hundred
In addition to well-equipped wash
rooms On all floors OF the studio, there
are shower baths for the employees.
All the office fixtures are of mahogany
and the office lighting system is in
direct throughout
1t is Mr.. Smiths estimate that the
stage will accommodate twenty COM
panes at one time, should the occasion
arise. At the present time the follow
ing productions are now under wav or
shortly will be: George Fitzmaurice's
production of "Money Mad" Billie
Burke IN The Education of Elizabeth"
the Charles Maigne production Of
The Kentuckans' and the John s
Robertson production of Sentimental
TommN"
New-York tribune., 1920-10-24
By Harriette Underhill

Michio itow is male Theda Bara Z!
One day last week we went to tea with
him, and he attempted to explain to
us how each musical tone is a color and
that the octave is represented by eight
inherent colors, which is about as clear
10 US as the fourth dimension. All the
tune he talked we listened and watche d
lntently IN an earnest endeavor to un-
derstand. Not to understand what Mr.
ltow said-that is easy, for he speaks
excellent English--but to understand
his theory \
In thinking it over later we conclud-
ed that Mr. Itow had said that the
lowest tone on the violin is a deep
deep purple. Yes, we are quite sure of
that. But whether the other seven
notes of the octave are lighter shades
of the same color or whe ther they are
low and red we do not know. But all
this will be settled before long because
Mr.. ltow told US that he and Nine
Serova are going to carry out this SYM
phony idea in their dances and have
the 'ensemble ladies" represent the
different tones and colors.
At the table with us was stunning,
dark, English beauty in a blue velvet
hat. AS usual we did not catch her
name, so we let it go at that and ddn t
ask any personal questions until she
said to Mr.. ltow: I'VE must go over
for those new photographs tomorrow.
They want them Then we pricked up
our ears. Are you Mr.. Itow's pub
licity director" we asked, for we
didn't believe that any one but pub
licity person could afford to wear such
costly clothes. The stunning English
beauty looked at us a moment and then
said Don't you know who | am? Why,
I'm Sonia Serova."
But we answered. amazed, eve
thought you were Russian and untamed
and didn't wear many clothes"
But that IS only on the stage.
was born in London and ! love pretty
clothes"
OF course, there is no reason why
it should be so. but we had expected to
find Sonia Servoa thin and dark, with
bobbed har and a Batk blouse.
Neither Nine Scrova nor Michio ltow
would tell US anything about them
New-York tribune., 1920-10-24
Florence Reed 10 Star in
First of Ziegfeld Films

The invasion Of "z.eefeia1 n the
motion picture field IS marked by .
distinction Of cast and direction tha.
promises to make. this name rs reie.
brated in the films as 't is a -ae field
Of musical shows
William X. 2iegfeii. hreaer Of ?
Ziegfeld ir.. has set his + stefa roaae.
ing units into action. Ire 't-,. unds-
the direction Of tmi'e Cnaaf.rl. is nov
at work Oh an Original sfni tg E,he.
Donoher, wiki Florence j. ss TIE
star
Miss Reed is supported 6r Cas-, Of
unusual excellence. lrcl-l.rr Norman
Trevor. Earle FoNe. Nenl IT. rnensor.
William Roselle, Virginia Hammone
and Mile Dazie.
The Ziegfeld Cinema CORPORATION. 4
$4,000 600 concern. with es.eatfvc Of.
fees in Delmonicos, d. now form.-g
four additional units all of Uhch vii
produce big features. The work 70.
the next SIX months VII oe concen.
trated in tho East.
New-York tribune., 1920-10-24
TenenhoItz Discovered
By A. III. Woods While
Cast i'm Other Play

Casting about for an actor to play
Schlemiel, the half-wttcd servant of
Haym Salomon in "The Unwritten
Chapter" at the Astor Theater, A. H.
Woods happened upon the Irving Place
Theater. There he found Alex Venen-
holtz playing important character
parts and in fair way of becoming
one of the stars of the organization.
Here was the man for the part, and
Tenenholtz was engaged to play his
first role on Broadway in support Of
Louis Mann in the Samuel Shipman-
Victor Victor play.
Tcncnholtz was born in Russia, and
his boyhood days were spent amid
rogroms and massacrcs. During one
of these attacks he lived with his
nother in cellar for ten lays, while
his father escaped to America. When
he was twelve he was brought to this
country and was sent to the New York
City schools. The youngster showed
an interest in things dramatic, and at
the age Of sixteen joined the Progress
cne-act plays. He developed a talent
for characterization and jumped into
any role offered The rcmunera-
tion he received for his efforts IS hand
~ worth mentioning. But he learned
and progressed.
The actors career in the Yddish
theater really started with Z. Liben's
production OF "Davd and His Daugh-
ter Since that effort he has played
character roles in all manner Of plays,
but his first notable appearance was
with jacob p. Adler in "The Abnormal
Man." in which he played Mischa, lead
ing support to The star. He played in
"1he Blacksmith's Daughter,' had the
leading role of Noska Pepel in Maxim
Gorki's "Night Lodging and had char
acter roles in nknown," "The Aban-
doned Nook and in plays by IIauptman
and Ibsen. Mr.. Woods offered him
chance to make his debut on Broadway,
and, although he held leading posi-
tion in the Yiddish theater, he accepted
the opportunity to show his art to Eng
lishsspeaking audiences.
Il do not care for artificial imper-
sonations," he said, in discussing char
actcr acting. Il want my audience to
leel that it is seeing the real charac-
ter before them. When | perform be-
fore the footlights | do not know
have an audience. | never play for
them knowingly. I am never aware
that | speak the lines of the author. I
live the character and work hard to
give truthful impersonation. If the
role is tragic, put roy heart and soul
into the part so | can feel the very
sad notes Of the drama. Thus | con-
vey to my audience the sensation that
they are actually realizing and eX-
pcriencing the life of the character.
If the impersonation is comical | use
my deepest resource to create mirth."
New-York tribune., 1920-10-24
Stage Fright Nearly Caused
Failure of SSpanisI, Love in
First Nights Production

Now that Wagenhals & Kemper's
production of Spanish Love-" the
romantic drama by Avery Hopwood and
Mary Roberts Rinehart. is settled for
a seasons run at Maxine Elliott's
Iheater. there is an interesting Incl
dent in connection with its New York
premiere that is worthy of note
When Wagenhals & Kemper acquired
the American rights to the play their
first thought was for a leading woman
for the role of Maria del Carmen, the
central character, whose name fur
nlshed the title OF the original Spanish
production. A number of prominent
American actresses made application
for the part, none Of whom measured
up to the type. Those who possessed
the necessary qualifications were not
available
The managers sought the agents and
ransacked the stock companies in vain,
and were almost disheartaned at their
unsuccessful attempts to find just the
right woman, who must necessarily be
of the true Spanish type. with train
ing, stage experience and dramatic
ability of the emotional sort. Where
was she to be found? Then came
Maria Ascarra, in whom they i'm
mediately saw a solution to their
troubles as the ideal person for the
eNacting and intricate role Of Maria
del Carmen, part that had. at differ
ent times, enlisted the talents Of
nearly every prominent actress of
Spain. and had also been played by
prominent actresses in Paris and other
Continental cities.
Miss Ascarra was engaged. She re-
hearsed and passed the acid test and
that Wagenhals e. Kemper's judgment
was correct was attested at the open
ing performance of the play in Wash
ington. The Belasco Theater was
thermometer registering 100 degrees
The play and the company. including
the leading woman. were received with
lapturous applause and appreciation
without question.
Now comes the curious part-the
troubles of theatrical management, of
which the public never getsan inside
view. On the opening night Of Span
ish Love" at Maxine Elliott's Theater
Miss Ascarra was stricken with stage
fright, a not altogether uncommon dis
ease.
A final dress rehearsal OF the play
was given on Monday, when, TO all ap-
pearances, everything and everybody
was in readiness for the New York
premiere.
just as the "half-hour" was called
on Tuesday night Miss Ascarra sent
hurriedly for Thomas Coffin Cooke, the
stage director "l'm sorry, Mr.. Cooke" ="
she said in an excited manner, but
can't go on tonight; I'm i'll, and just
can't nerve myself to stand the test
of New York first night" And she
swoored.
A doctor was summoned, who admin
istercd an opiate and assured the man
agement that she would be all right
New-York tribune., 1920-10-24
Royce Says Beauty Is
Not Alone Sufficient
In Musical Success

Edward Royce, who has produced
many musical comedy successes, calls
American women the arbiters of the
side, he says, and they SHOW apprecia-
ton of the efforts Of the producer.
"American women are most discrim-
inatng" he says. "Costumes in musi-
cal productions, therefore, must not
only be costly, but they must be made
with particular attention to lines and
colors to bring about harmonious eff
fec.s. Merely pretty girls and popular
stage favorltes no longer arc sufficient
to bring success to musical comedy.
There must be an ensemble of beauty,
color, music and TALENT
Mr.. Koyces most recent production
is kissing Time" which is now at the
Lyric Theater. Across the strees, top
the New Amsterdam Theater, TIE "Zieg-
field Midnight Froic~ is running, and
further uptown, at the Vandcro., Thea
ter, that popular girl, "lrene,' is at
tracing capacity audiences after a long
run. Mr.. Royce also put on "OA, Boy"
Apple Blossoms "Going Up" and
When "Kissing Time" was being pre-
pared for its Broadway debut sixteen
producing directors were considered for
the task Of whipping the play into
shape during the tinal days of rehcar-
sal. A vote was taken and Mr. Royce
was chosen.
Kindiiness, rather tnan force, is the
predominant note in Mr.. Roycc's
method Of conducting renearsels. He
gets more out of his principals and
chorus, he finds
'I am firm believer in being kind
end patient" he said. after all it is
really the only constructive method of
handling people, and you will find that
holds good not only on the stage, but
in every walk whore people must be
trained"
No detail is too insignificant to es-
cape the notice of Mr. Royce. He
noticed that the shuttle Of saet when the
chorus danced disturbed William Nor
ris in his singing Of the Don Juan"
song in "Kissing Time" SO he re-
placed the 5000 ground Goth with a
soft rug which cost $1,000. All the
lights in the theater were changed
from amber to pink to obtain softer
shades for the chorus numbers. Every
detail OF dress, even 70 the placing of
buttons on mems coats, was directed
by Mr.. Royce. Nothing was over
looked, not even the styles the chorus
girls affected in dressing their hair
In London for many years Mr.
Royce made the productions for George
Edwardes at Daly's and at the Gaiety
Theater. Ivan Caryll. who wrote the
music for "Kssing Time,' was the
director Of the Edwardes orchestra
Now it is rumored that Mr. Royce will
so to London to make the production
there of "kissing Time"
New-York tribune., 1920-10-24
Frank Craven Thinks tPlay's
The Thing and Practices
Theory in Everyday Life

Frank Craven never talks shop. SO
when he received a note requesting
an interview on plays the thing" he
assumed what he chose to assume and
consented. The author and star of "The
First Year" which looks like another
Winchell Smith John Golden hit at
the Little Theater, was preparing his
blood stained shirts for trip to
the laundry when the request came.
Then the questioning started. Craven
was asked to tell about his stage career,
what he thought Of the star system and
kindred subjects Of the theater. The
actor threw up his hands. He picked
up the note and read it again
"Sit down while l get this laundry
ready" he invited. "Yeu know in the
last act l bleed red ink and l need
a lot of shirts"
Aren't you making mistake" he
said 81 thought l was to be inter
viewed on plays the thing | am will
ing to talk on that. | never talk shop.
| thought you wanted me to talk about
play, recreation, amusement, mind
rest. There are many who think don't
know anything about play. l know a
lot about it, everything about it. The
better the player the better the actor,
and believe me l get it-play. How
up without it?
what do l know about play?
think it was the late Bill Harris. one
of the best loved Of the old school
managers, big theater owner-he once
said-every man should bet at least
eleven hours sleep day. He was
right, if you can do it, but if you can
put in only six or SEVENTEEN play
play, play. l don't think Mr.. Harris
ever put in eleven hours, he used to
p ay too much piRechle; but he was
right in the main. He meant the brain
needs eleven hours rest day, and if
you can't sleep it out, then play it
out"
He relaxed in his chair as if the
speech had been too long.
But now do you play?"
"The only way to play-like boy.
Look hcre'-and he took a watch out
of his pocket. 1--WE taken that watch
apart and put it together hundred
times and it works. Listen to the
ticking.
1--WE got a clock at home which has
New-York tribune., 1920-10-24
Gowns i'm 'Hitchy Koo' Cost
A Fortune; Fine StitcI1ery
Shown i'm Gorgeous Costumes

There is a fortune locked up in the
New Amsterdam Theater these days,
with guard OF eight women keeping
vatchful eyes upon it from in the
Morning until midnight. 1t is fairly
safe from thieves since it would re-
quire at least six moving vans to re-
move it unharmed But it must be pro-
tected from careless choristers.
The fortune lies in the creations
worn by the girls in "Hitchy-Koo 192o'
valued at $l25,00O, and designed and
made under the personal supervision
OF Nine. b. Rasimi, directrice of the
Theatre BaTa-C Clan Paris. Nine. Ra-
SIM came to America expressly to put
OF. "HitchyKoo.' With her She brought
trunk after trunk of exquisite brocades,
NelVets, ostrich and coque feather
Thinning. maribou and brillants and
ropes and ropes of pearls. Six beau
tlul girls wear in one number gowns
valued at $1,000 each. And the num-
Der lasts three minutes.
farls always has been the home o,
exquisite stItchery. of beautiful hand.
No,N ana eiaboratlons which put dress.
n""'"b among tne nne arts. Nine
Nasimi mas seen to it that finish of de.
.all went INTO the "Hitchy- Koo" cos.
tunes, although in America the cost
OF such work. regardless of material
Is staggering. Upon foundations Of
ghtterlng brocade, valued at SIS .
YARD are figures hand appliqued il
chinon, while ropes of pearls are strung
ny hand to make sleeves through whicl
cleaning white arms may shine. Lacy
Httle boomers and petticoats hav.
handwork lavished upon them unit
they look more like part of the trous.
seau OF princess than a mere trihe
IN the wardrobe of chorus girl Nine
RaSimi strikes two notes-of barbarie
colors and lavish use of gold anl
Jeweled frongcs, in frocks of one type
wnlie IN the other She reverts to the
extravagant hoops, the laces and rib,
bons of the age of the Louis
Mrs. Amelia Nelligan and the eight
wardrobe women, who work under
Nine. Rasimi's direction, keep constant
watch over these creations. Not a
tiny rent IN fine malines, or broken
strand of beads, or frayed bit Of
golden brocade is allowed to go from
one performance TO the next. One set
OF costumes. made entirely of pearl
beads and golden fringe, is taken to
the repair department after every
performance. to have the fringe
combed and Strengthened and missing
beads replaced. Two women work on
nothing but hats and head dresses. Of
which there are five hundred used in
the production varying from jewelled
bands to gorgeous creations of ostrich
and paradise, a la Gaby
An extremely saucy costume has
ell, ,r$
Lulle' reaching barely to the knees.
New-York tribune., 1920-10-24
Collier to PLAY CARDIGAN

William Collier jr is to play the
name part in Cardigan" the Robert
W. Chambers story, when it is made
INTO picture play by Kendall Produc-
tons. Work is to begin at once at the
Long Island studio of the company.
Madellne Lubetty, Betty CARPENTER.
Hattie Delago and Katherine Perry
have the women's parts and the men
IN the cast are Charles Graham, Dick
Lee, Frank Montgomery, Colin Cams
bell, Jere Austin, William Pike and
.T0hn DillOp ''N
New-York tribune., 1920-10-24
John Willard in ''Fantomas"

William Fox has engaged John Will
lard, one of the principals in David
Belasco's "Son- Daughter" to create an
important part in his second serial
production, "Fantomas." Mr. Willard
Wall enact the part of the detective
VINO is determined to entraD the devil
IN flesh, Fantomas, as portrayed by
Edward Rosemon.