davidaulloa/AmericanStories huggingface dataset:
The Seattle star. [volume] (Seattle, Wash.) 1899-1947, 1920-06-25

Bring home some OF Boldt's
Pastry and Hard Bolls.--Advertise-
mcnt
The Seattle star. [volume] (Seattle, Wash.) 1899-1947, 1920-06-25
HAVE No TERRITORY
AMBITIONS IN SIBERIA

Japdna courNe In Aprll this year
In instituting action By her military
force In vladivoEtok. has added 70
tho conviction OF those OF her critics
who believe that her military occu.
patton In Siberia has 90 do with her
plan for military domination OF that
whole region In tho Far East. of
which Shantung L. n part The Jap.
anese Insist that their expedition 10
Siberia was for tho preservation Of
order only. not for any territorial
ambitions whatever. They say that
the provisional Russian government
at Nladivostok and other places Mt.
tackled the Japanese troops, who
were compelled 20 cxert military
force 20 put tho city In order. Some
people were shot. they admit but
this was not intentional. Their pur.
pose. We were advised. is 10 keep only
enough troops In Siberia TO maintain
order In certain sections. and To pro
tect Japanese merchants and others
there.
The Seattle star. [volume] (Seattle, Wash.) 1899-1947, 1920-06-25
ARTICLE FOUR

Copyright. 1920 by n. II. Al
Ky HAIRY u. BENEDICT
business Associate Of Frank a
The Seattle star. [volume] (Seattle, Wash.) 1899-1947, 1920-06-25

their own way during courtship. and
after marriage their husbands find II
difficult 10 break them OF the habit.
The Seattle star. [volume] (Seattle, Wash.) 1899-1947, 1920-06-25
Free Guides This
Summer in Parks

Ell PORTAL. Cal. June 25.-Frce
guides thru the Yosemite viii Be pro.
vided by the government for tourists
this summer. Evening illustrated lee
lures on wild life will also be given IL
the various CAMPS #
The Seattle star. [volume] (Seattle, Wash.) 1899-1947, 1920-06-25

Seattle win celebrate Columbia
Colo week from July Sd tin 18th.
Druggists, groccrs. restaurants and
soft drink parlors viii serve Colum-
bia Colo. the new non-intoxicating
beverage. made from malt and hops
Columbia Colo" is better. Dealers
should have a supply on hand. as Co
iumbia Colo Is what the people want.
Elliott e407. Columbia Bottling Co.
New-York tribune., 1920-09-05
Val1deviIle

PALACE-Thcre will be three head
liners on the coming weeks bill.
Leon Enrol, the Ford Sisters and Fay
Marbe will be featured. Mr.. Errol's
offering will be in his usual drunk"
character in "The Guest" The Ford
Sisters, Mabel and Dora, will dance.
Fay Marbe sings and dances. Others
and Fools" Bradley and Ardine,
Moss and Frye, "sun aad Earth"
ballet of the four seasons; Maxine
Brothers and Bobby and Patricola
and Mason. There will be the news
reel and Topics of the Day.
RIVERSIDE-"Y Song Shop" musi-
cal conception by Pat Rooney, will be
featured. Others will be Frances
Pritchard & Co.. Gordon and Ford,
Patricola, Harry J. Conley & Co., Mel
Klee, Four Lamy Brothers, Burns and
Foran, Juno Saimo, Topics of the
Day and the news pictorial.
COLONIAL-Henry Santrey and his
syncopatcd society band will head
line. Others will be Toney and Nor
man, Robert Emmett Keane, Patricola
and Mason, FARRELL Brothers, Topics
of the Day" and the Colonial news
pictorial.
Slst STREET Lew Dockstader will be
featured The screen feature will be
Won Strohcims picture Of Paris,
called "Thc DEVILS Passkcy." Others
will include Indoor Sports" Cum
ingham and Bennett. Leon Varvara,
Oakes and Delour. "An Artistic
Treat" Topics of the Day and the
news pictorial.
B. 8. MOSS BROADWAY--"The Pick
fords," comedy act, and Frank Null
lane. who talks and sings, will be
among the B., F. Keith acts to open
the new policy Of vaudeville and
pictures at this theater beginning to-
morrow. Other acts will be Irwin and
Jack Kaufman, Gordon and Ford,
singers; Stone and Kaliz, a musical
turn, and Cartnell and Harris. There
will be n comedy photoplay, the news
reel and topics of the day.
LOEW'S AMERICAN Thomas Race
and Free Edge. English comedians
and musicians, in skit called Lion
don Bridges" will head the bill for
the first half Of the week. Others:
-Four Stylish Steppers. "Rathburn
Four" musical novelty: Monte and
Lynons, Johnny Harragan, York's
Pupils and Rita Shirley. Bryant
Washburn will be seen In "A Full
House" on the screen.
New-York tribune., 1920-09-05
Intimate Information From the Realm of Make Believe
New Productions Open
Out of Town Preparatory to
Bidding for Broadway Favo,

These new productions had premieres
out of town in the course of the last
two weeks:
"ABE MARTINI" by Kin Hubbard,
founded on the cartoons and stories of
this character, opened at English's The
ater, Indianapolis, Monday, August %,
with G. Carleton Guy, John Gilmore
and others. No New York date set.
"TATTLE TALES" a revue with
book by jimmy Hussey, lyrics by How
ard Johnson, music by Archie Gottler,
opened in the Detroit Opera House, De-
troit, Monday, August g. with Jimmy
Hussey, Rae Samuels, Charles Gala
han, Joe Browning, Maurice Diamond,
Lou Baum, Grace Evans, Lillian Wash
burn, Jessie German, Evelyn La Deaux,
Clifton Edwards, Jean Tennyson, Pierce
Keegan and others. No New York date
set.
LADY BILLY" musical comedy,
words and lyrics by Zelda Sears, mu-
sic by Levey, opened at Park Theater'
August %, with Mitzi, Sydney Green
street. Boyd Marshall, Arthur Uttry
Beatrice Constance, Jean Newcombs
Josephine Adair, Charles Gay and
others. No New York date set
COME UP IN THE HAYMOW," q
comedy by Wilson Collision, opened at
Opera House, Cleveland, Monday, Au-
gust %, with Walter Jones, Enid
Markey, Alice Fleming, Ralph Bunker
F. B. Hersome, George Fox, Blanche
Martin and others. No New York date
set, but play acquired by A. H. Woods
"WAIT TILL WE ARE MARRIED" q
comedy by Hutcheson Boyd and Ru-
dolph Bunner, opened at the Little
Theater, Los Angeles, Monday, August
23, with Francis x. Bushman and
Beverly Bayne, with a supporting cast
No New York date set.
"PITTER PATTER," musical
comedy based on the comedy Caught
in the RAIN" by William Collier and
Grant Stewart; book by W. NJ. Hough
lyrics and music by w. B. Fredlander;
opened at Broadway Theater. Long
Branch, Monday, August %, with John
Price Jones, Jack Squires, Mildred
Keats, Helen Bolton, Frederick Hall
Jane Richardson, William Kent, Albert
Smthfield. Opens in Boston Monday
"MYSTERY," melodrama by Edward
Delaney Dunn, was produced at the Au
ditorium, Baltimore, Monday, Angus
23, with John Haywood, Grace Hamp
ton, Howard Truesdell, John Wheeler
Cyrus Wood, Mary Jepp, That's Lawton
Harold Heaton, Katherine Grey, Doro
thy Mortimer, Paul McAlister, Perct
R. Benton, Fleming Ward, Edward
Lacey. No New York date set.
"NOBODY'S FOOL" a comedy BY
Alan Dale, opened Monday, August 80
at Paterson, N. j., with May Robson
Fay Cusack, John Sears Story Lillian
Harmcr, w. E. Homans, Frances Ken
nan. Jack Marvin and others. New
York date not set.
"JIM JAM JEMs," revue by Harry
L. Corr and George E. Stoddart, music
Thester' ~ teS Baltimore, ey v Tuesday " evening u
August 81, with Ada May Weeks, Percy
New-York tribune., 1920-09-05
Playwrigg hit Answers Query
AS to Where Authors Get
Ideas for All Their Plays

Ideas - original ideas are flying
about in the minds Of men everywhere,
every one of which might make a play
But the trouble is that great many
of them are basically similar, in many
instances identical, and so playwrights
nave difficulty in ST. .ging their work
because Of conflict with that Of some
other author.
George Middleton, co-author of "The
Cave Girl" now playing at the Long
acre Theater, says authors never forget
the original idea from which their
plays are made, and he has gone into
detail to tell of the strange situations
that have attended his own conception
Of some of his plays that had been
successful on Broadway.
81 suppose" he says, zone of the
questions most frequently asked of
authors is where they get the ideas
on which their plays are founded.
Critics are fond Of pointing out what
good memories we dramatists have and
there is no use in denying that many
scenes and situations lin every play are
often lineal descendants from hoary
ancestors. After all, people are people
and plays are plays-one cannot escape
the racial resemblance, however infinite
the variation of type. But every author
has some initial idea which started his
creation into activity, and recalling
that idea has always been good sport
after the work is finished. Literary
autobiography is full of this. In the
New York edition of the novels of
Henry James, that brilliant writer de-
votes many prefaces to that delightful
New-York tribune., 1920-09-05
4" Lincoln'' Chronicler Talks ON
Value Of Spoken Drama i'm
Raising Standard of Speech

just before the beginning Of each act
in abraham Lincoln" stands for mo-
ment while quiet comes, then strikes
out directly with beautiful flow of
English, sometimes breaking into
poetry, sometimes holding strictly to
short, brisk, perfectly chosen short
sentences, always handling his lines so
we'll that it seems to the listeners every
word he has spoken can be remembered
when the audience has gone home and
thought over the play again.
That style is not natural with him.
1t is the result of years of earnest
struggle with the language and with
the direction of reading masters. Mr.
Dunn was selected as the Chronicler
after several others had been tried
out and had not "made good" Mr.
Harris and Mr.. Drinkwater knew the
man who read the lines that were to
act as verbal intruductions to each of
the episodes (f episodes they may be
calledD of the life of Abraham Lincoln
would have to be of the very highest
through England and America for that
man. In the minds Of most persons
they were successful. Mr.. Dunn's de-
livery has not been outdone, perhaps,
in the recent history Of the stage. His
words fall upon the anxious audiences
like Victor Herbert ballad. Really
there seems to be music in his style
"The selection of words" he says,
"has great deal to do with it. If you
think do we'll, you should remember
| that l did not write the play. Mr..
Drinkwater gave me the material with
which to work. He, too, is to re-
ceive great credit.
"In the best plays we find the few
az do tn Il ~
mean that plag should be produced
with too few words. There must be
a certain amount of explanatory mat
ter. But, the difficult part is in Sc
lecting words that will tell your story
| in the shortest and simplest, vet in
the very best, manner. We have in
al our audiences, the perfect melting
pot of society. So we must be posi-
tive we do not talk too high for many,
nor too low for many. We must strike
a balance. Nothing appeals to all
classes so strongly as simplicity. Very
often the audience doesn't realize the
limpid thing that removes self-con-
sciousness in the theater. People like
it, but they do not know why. It's the
clearness. It's the straightforward man
ner in which thing is written, with no
attempt at stunning words or overlong
speeches."
He is Of the belief that we'll edu-
Gated Englishmen and we'll educated
Americans have no difficulty whatso-
ever in understanding one another. The
jokes and taunts of a great many Amer
leans concerning the English of an
Englishman, and, vice versa, that of the
Englishman concerning his brother
American, result, he says, from the
tact that neither of the two knows
good English himself.
"It is the way Down Easter and the
'cockney' or illiterate Engishman," he
says, "who talk to one another with
difficulty and wink at their friends over
their shoulders
"The same as in reading good books
New-York tribune., 1920-09-05
Illness Made Her High Diver

Curing ones self of bodily ailment
and automatically preparing that body
to earn for its owner thousands of dol
lars monthly, as we'll as to have ones
name in large type in the newspapers.
doesn't seem half bad, does it? That
is what Dorothy Gates did. Miss Gates
leaps 122 feet into pool Of water at
the Hippodrome each day, and she
found her ability to negotiate the
breath taking leap after she began,
more than six years ago, to exercise
her body by swimming in nm attempt
to correct spinal weakness.
AboNt two years after she began to
swim, Miss Gates obtained an engage
ment with vaudeville act, finding she
could leap from high perches cnd swim
away as unfatigued as if she had not
been in action at all. Now she jumps
through the 1872 feet Of space without
the slightest fear, although. she says,
she realizes perfectly that IL she were
<to miss her goal by few feet 1t would
result very seriously for her.
New-York tribune., 1920-09-05
Atmosphere Converts
Maxine Elliott's Theater
Into Old Spanish City

Leaving Broadway and walking
short distance eastward, you reach
Maxine Elliott's Theater. You enter,
and for the rest OF the evening you are
miles away from noisy, garish Broad
way, but have taken speedy trip to
the Province of N1urcia, in southeast St
Company, through Livingston Platt, is
responsible for your removal from
New York City.
II the success of a play were to de-
pencd upon a plentiful coating of local
color, "Spanish Love" should make a
record run at the theater in Thirty
ninth Street. The playhouse has been
transformed by Livingston Platt and
fairly abounds in that elusive some
thing called atmosphere of decidedly
Spanish hue. Mr.. Plat, the scenic
artist, was a particularly happy choice
of the producers for the task of pro-
viding colorful frame for the dra-
matte picture from abroad. He spent
more thar year and half as stu
dent in Spain, and much of his best
wr'k has been done in the Spanish and
Moorish motifs.
The national colors of Spain were
selected by the artist for the decora-
ton Of the theater which now houses
the adaptation by Avery Hopwood and
Mary Roberts Rinehart. TO these he
added the characteristics of the Prov
ince of Murcia, the specific locale of
the play.
AS the first-night audience entered
the theater magnificent canopy in
yellow and red, suspended from the
ceiling ond extending from the open
ing Of the proscenium arch to point
q fhn
tracted much of their attention and
comment. Over the two upper boxes
are two awnings in the same color.
The neN curtain is bordered by the
national colors, and in it's center of
mottled silver it bears the coat-of arms
Of the city of Murcia, the capital of
the province.
Instead Of ratings for the upper
boxes Spanish balconies have been de-
vised by means Of lattice and grill
work and trailing rose vines which
climb up from the flooring Of the lowey
boxes. On the front of each of the
upper boxes the coat-of-arms of Murcia
is repeated.
One of the novelties Of the method
of presentation of the play is the
use Of lower stage, built up over
the orchestra pit and raised only a few
inches above the level of the main or
chestIa floor. 1t is connected with the
stage proper by two flights of steps,
and the action Of the play takes place
or the two stages, members of the cast
making their entrances from the side
lower boxes, from the rear of the or
chestra floor and from the wings Of the
stage itself. u
And to add to the atmosphere q
string orchestra, concealed from the
! audience, plays an overture written by
H. Maurice Jacquet, young french
composer. 1t is founded on the folk
songs and airs Of the Province of Muir
cia and makes the gap between the
huerta, or garden, and New York's
steets an even wider ono than that
made by the first sight Of the trans
! formed theater.
New-York tribune., 1920-09-05

that we shared in the success of the
years run at the Astor and Harris
theaters.
"'Polly With a Past originally
started out as play on the servant
problem. We wished to show the lone
Illness Of the servants life in a big
city. When we worked on it, however.
we saw the need of placing the girl in
curious position toward her employ
ers by having her in reality of their
own social group. Again, prominent
character came to our rescue, for about
this time Gaby Deslys was in all the
papers. What would be more basically
humorous than to have our servant a
daughter of minister who was forced
by circumstances to pose as a notori-
Gus and international siren? And so
while the servant problem initiated the
play, in reality We never touched on
it. This play was originally produced
under another title by stock COM
pany, when Mr.. Belasco saw il and
bought it. During the year he held it
it was rewritten many times with the
farcical elements taken out so that it
became the comedy which the Belasco
Theater saw all season.
Before the production Of Polly
however, we were working on Adam
and Eva The original idea of this
I recall very distinctly as being found
ed on the old legend of St. Peter, who,
being dissatisfied with the constant
complaints which mortals made about
their troubles and their constant de-
sire to be somebody else, ordered them
New-York tribune., 1920-09-05

Pollock, Elizabeth Murray, Zoe Bar
nett, Frank Fay, Ned Sparks, Joe
Brown, Gettison Jones, Virginia Clark,
Parish and Peru, Harry Langdon, King
sisters and Irma Warwick To open
Cort Theater September 90.
"DEARIE," a musical comedy adapt
ed from "Wildfire," by George Broad
hurst and George V. Hobart, opens at
the Detroit Thcater, Detroit, this
evening, with Lefty Yorke. Georgiana
Hewett, John f. Young, Will Archie,
/ John Merkyl, Willie Solar, Primrose
Semon. Cosmo Below, Joseph Mccall
liom, Edwin Walter, Harold Christie,
Suzanne Chase and others. New York
date not set.
"HONEYDEW," musical comedy
Zimbalist, opened shubert Theater,
New Haven. August 80, with Sam Ash,
Hal Ford, Etheiind Terry, Teresa Max
we'll Conover. Dorothy Follis, John
Park, Mile. Marguerite, Frank Gill,
Kuy Kendall. Marie Hall, John Duns-
mere, Fred Manatt, Elaine Earle and
others. Opens Casino Theater Monday
evening
LITTLE OLD NEW YORK" com
edy by Rida Johnson Young, opened
Broadway Theater, Long Branch, N. j.,
Monday evening. August 10, with Ernest
Glendinning, Frank Charlton, John
Randall, John Ward, Charles Kennedy,
Douglas j Wood, Albert Andrus, Ellen
Soderstrom, Donald Meek, Margaret
Nugent, Paul Porter. Alf T. Helton,
Pauline Whitson, William Mcclure,
Frank Horton, Fred Fairbanks, Thomas
Houck. Opens Wednesday evening at
the Plymouth.
"BROADWAY BREVITIES OF
1920" a musical revue, opened Mon
day evening. August 80. at Globe Thea
ter. Atlantic City, with Dorothy Jor-
den, George lie Marie, Bert Williams,
Ula Sharon, Natalie Kingston, Mary
Haynes. Frank de Voc, Dave Seed,
Hazel Washburn. Bette Parker, Peggy
Parker, Eddie Buzzell, Vera Grosset,
Teck Murdoch. Rita Owen, Marcel
Burnes. Jay Dillon and others. Opens
at the Lyric, September 8.
NOTHING DOING" a farce by
Barry Connors. opened at Woods Thea-
ter Atlantic City. Monday, August 80,
with Florence Nash. Annie Mack Ber-
lein, Edward Poland. Frances Good
rich, Percival Moore, Robert Ames,
Harry J. Lane, Peter Fairfax, Philip
Hudson. Marion Kerhy, Robert Bent
New-York tribune., 1920-09-05
James Montgomery ON
The Elusive Secret of
Musical Comedy Success

"The secret of how to make sue
cessful musical show" queried James
Montgomery, author of "Irene." "Why,
that is a question that many bright
heads have joined together to answer,
and not always satisfactorily, as the
storehouses for dead shows will tes-
tify, also many sad bank accounts
dwndled from imposing proportions.
"The fact is that you can't even
make any rules-that won't be broken.
A successful musical comedy is, Of
course, a delightful collaboration be-
tween author, lyric writer and musi-
clan, to start off, and then their united
efforts are given over to the tender or
rough mercies of cast of players.
They can help or hinder tn, success
of a musical comedy.
"Therc are several observations,
however, that are worthy Of considera-
ton. The first is that you do not need
a cast of famous players-'Irene' made
its success with no player in the cast
known on Broadway.
youth and talent will shine forth
even if an actor or actress is just
coming forth from some obscure stock
company. The trouble is that so few
New York managers will give unknown
people a chance to show what they
can do, and goodness knows they will
put their heart and soul into per-
formance.
"Anothcr thing that can be followed
out from a long way back is that the
most successful musical comedies are
those that are made from real books
books that have originally stood alone
as comedies.
"The plot structure is tktrc and the
characters are more ttue to lie than
in the ordinary sketchy musical comedy
story.
/ Irene for example, and q number
Of modern great stage successes, from
The Three Twins on, were developed
from books that have been presented on
the stage as straight comedies, and the
technical structure being strong, there
is naturally much more chance for sue
! cess"
New-York tribune., 1920-09-05
Barry Baxter and Mre Martin Harvey i'm "Happy

occupation and it is amusing to see
the evolution of story from it's initi
alton. Balzac, in one of his letters
to Nine. Hanska, narratcs how his
drama La Maratre' was originated by
bitter glance which he saw one sis
ter give another in what was consid-
cred 4 happy household Sometimes
the initial idea is held to rigidly, but
more often it is only sprngboard
into the unknown.
"Of the five or six plays which Guy
Bolton and I have done together it is
easy to recall the impelling push Our
Holiday afterward rewritten by
George M. Cohan. This idea of bar
tender who became q prohibition lead
er was suggested by an episode in
the life Of a we'll known gambler.
Years ago he operated many pool
rooms in New York City, and when the
owners of the race tracks, desiring to
force the people to frequent the
tracks instead Of the poolrooms,
brought the law down on him and
closed all his places he sought re-
venge.
"He went over to New Jersey, en-
listed the sympathy and help of the
ministers, and closed all the race
tracks. At the time I suggested this
idea to Bolton he pointed out that the
interest in racing was not as keen as
that in prohibition. Hence we
changed the background and made our
principal character bartender who
became a prohibitionist, in place of a
gambler who became a reformer. It
was about this time, too, that Billy
Sunday first came into prominence,
| and very naturally he became the pro-
totype for the principal character, al
though our play in no way touched on
his personal life. We took the comedy
to Mr.. Cohan under the title Of
"WhatW You Have" When | men
! toned the title he was astonished, be-
cause he was writing a play with thu
same title, only one act of wrich was
completed. Then he asked us if the
principal character was a bartender,
and when l said yes. his nstonshment
gre :. Of course, as his play had
never heen finished, it was one of
those strange condolences which fire.
quently happen in the theater where
people hit on the same idea After we
had read our play he saw a way of
uniting our story with some of the
situations he had in mind, and as Boil
J ton and / both needed the money at
the time we gladly accepted his prop
osition to take our play and do what
he wished with it, He made us a
very generous financial proposition. SO