davidaulloa/AmericanStories huggingface dataset:
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1920-04-11

II the American drsmatist had r.~
encouragement TO write IN this 60
you would find here the greatest an.
act plays, because the form is one =.
pecially adapted to the American ton
permanent. Lacking the financial ~
ducements, few authors will consii..
it worth their while. Now thew bsv.
to rely on little groups where the ma
ductioxs are frequently with am.,.u.
talent. Yet even out Of these GROW.
Rave emerged several very importsr.
writer's, and I am convinced that ~.
one-act plays of Eugene ONeil and
Susan Gfaspell, for example. will ta..
prominent rank in our dramatic n,
erature. But there are many plsv,
which absolutely need tho enhance.
ment Of real professional interprets.
ton, and the average professional
writer wishes that sort Of interprs-
tation or mono at all"
Then why do you keep writing them
and publishing them"
"W ELL" he said. laughing, 81 do Il
because / like to do it. and q man own
something to what gives him pleasure.
Whenever | have time, between produe-
tions, to write without consideration
of anybody else I do a little p,ay ana
a good deal of time, too. One in INV
new book took two months STEADY
work. Before know it have q vol.
ume. don't write books of plsys IA,
any financial reward. but just because
the work has its own compensation,
And yet, curiously enough, shere must
be a wide interest in the form. for ths
volumes have gone into many editions.
But publication Is the only satisfartnvv
outlet at present, not as a substitute
for production, but as an alternative.
Perhaps, too. have an ulteror
thought. l hope it is only question
of time when we shall have a Roper
tory theater. | see no signs Of It vet
but If it comes 1t will have to be
modelled on the Continental plan And
should it come there may be a demand
for the one-act form. My first volume,
.Embers, was, believe, the irst col
lection of one-act plays published by
an American dramatist. In the ten
years that have elapsed there have
been dozens Of volumes Of one-act plsys
published. which reveals a wide in
terest in the form When it ceasea 70
be considered q mere pastime and a
sketch and is given the same chance
for professional hearing as abroad
it will achieve its own inherent dir
nifty"
When will that be!
mo playwright with any experience
In the theater ever predicts; he only
hopes"
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1920-04-11
Motion Picture Actress
Becomes First Woman
Producer for the Film

Catherine Curtis, tho president and
general manager Of the Catherine
Curtis Corporation and the only wom-
an producer In the motion picture
business, made it known at the very
beginning Of talk with a Tribune
man that she didn't want to be de-
| scribed in any forthcoming story as Of
an abnormal OR superhuman nature,
possessed of some mysterious power
that enables her to pick up million
dollars that has been overlooked by
some passersby.
But when she went on to say cas-
ually that she had refused several
offers to be starred in motion pictures
IN order that she might be in charge
OF the administrative end of her own
producing organization what could be
done! That action would seem un-
natural to at least ninety-nine million
people in the United States who have
looked at their stars on the screen or
In the pages of u motion picture mag
azine, and thereafter sighed great
gusts of envy. But let the unnatural
action pass. Miss Curtis ignored the
opportunities that were before her for
screen career as an actress because.
as she herself says, of certain ideas
that she wanted to carry into execu-
ton, of a certain something different
that she wanted to bring to the
screen.
Some two years ago Miss Curtis,
then managing her own ranch in
Wright to play an important part in
the screen version of THE Shepherd Of
the Hills" Although Miss Curtis has
been in and out Of the motion picture
world for several years, it was really
during the filming of "The Shepherd Of
the Hills" that the idea of forming a
company Of her own took definite
shape in her mind. And as recently
as last June prominent Wall Street
men placed their resources behind Miss
Curtis, and the production of the first
picture began.
This first picture, an outdoor story
produced in the Cmur d'Alene dis
trict of Idaho, was recently finished
and is soon to be released A special
feature of this first production is the
extraordinary beauty of the exterior
scenic effects. So impressed were her
hackers with this visual evidence of
Miss Curtis's ability to translate good
ideas into good film that when she
recently came East it was to reorgan-
ize her company and increase the
means that in the near future this
corporation will have three producing
units working and that within the
next year some six or seven pictures
will be produced under the super
vision of Miss Curtis. For, while she
Is nominally interested only in the
business end Of the productions, she
Will nevertheless express through her
directors and her stars certain definite
ideas about photoplays. part of her
Forthcoming productions will consist
OF films showing che. real West, where
people live In comfortable houses and
lew people are shot, at least not be-
fore breakfast.
Rather an ambitious program for tho
hrst woman producer? According to
one of her associates, not too am
bilious; this man defines her as "a
normal woman. possessed Of insight
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1920-04-11
ALI Three Talmadge
Sisters Now Appearing
I'm Drama of the Screen

"All ready-shoot iti" The director
had spoken, and Norma Talmadge, in
her role Of the rich young woman in
eyes or No" had stepped before the
camera In the studio on Forty Eighth
Street. 1t was. incidentally, blond
Norma Talmadge that the camera
caught, for in one of her two parts in
this screen play Miss Talmadge con-.
ceals her own dark locks under
blond wig in order t. successfully
portray the rich but not very nice
young woman Of the play.
II can't see the moral Of this play
at ALL" she complained. ~ play a
rich young woman who becomes bad
and poor young woman who doesn't.
What the moral is, beyond the fact
that the poor young woman can't
afford to be bad, I can't see"
Norma, between shots of the camera,
she had done in the past In spite of
the fact that she has been a featured
star for three years, it is to the future
that she is looking. Once her present
contract, which calls for pictures at
the rate of six year, is finished, she
intends to work in only four pictures
year; this, she feels, will allow her
to do better work than in the past, to
do. in fact, the big emotional dramas
for which she feels herself fitted.
Natalie, the youngest of the trio Of
sisters to enter screen work, has al
ready worked in two pictures, one with
each sister, and is, as has been said,
with her sister, Norma, In eyes or No."
This latest convert to the screen from
the Talmadge family Is not over en-
thusiastic. To tell the truth, it was
rather the advice Of her two sisters
that brought her to the screen than her
own desire. But, because she has al
ready displayed flair for character
work, 1t is predicted her interest will
wax as the letters in which her name
goes on the screen grow larger and
larger. For just as Norma differs from
Constance in personality and suitability
for various roles, SO is this youngest
sister possessed of a distinctive indi-
viduality that will carry her beyond
being known simply as the sister of
Norma or Constance.
Speaking of Constance, Palm Beach
prevented this from being a properly
constructed triangle. When Constance
recently went to Palm Beach, it was
with injunctions to take a rest.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1920-04-11
Gloomy BARRIERS Gaze
Mournfully on Unshorn
Locks of Bandsmen

All last week bald men, BARRIERS, and
men with heavy boards and tender
skins have been listening to the wild
jazz appropriations of the Israelite Hou,s
Of David Band at the Orpheum Theater.
They look al tho hair and boards of the
twenty men in the organization and
sigh.
"Oh, for their secret!" says the bald
man to himself
"Oh, for chance at theml" SAWS sb,
barber. with a dollar charge for hair,
cuts likely and a correspondingly hiyh
price for shaves.
"Oh, not to have shave." says tho
man with tender skin.
Followers of Nazari-e law, thsv
have never cut their hair nor shsvsd
their boards, and have long boards AND
locks which reach to their waisu,
They wear their hair in braids. rolled
up under caps when on the street, and
have been mistaken in New York fora
group of Russian immigrants.
A man rushed up to two OF them ths
other day, looked curiously and asked
w nat language do you speak? ?"
american" said one.
united States" said the other.
Then they both had a good laugh.
We may look like Bolsheviki. but
were not" said Ben Hill.
Founded In 1903 at Benton HARDER,
Mich, bv Benjamin Pernell. the Israel.
lite House Of David now numbers about
thousand in its self-sustaining com
munlty across the lake from Chicago.
Inc faith was founded to bring TO-
gether the Twelve Tribes Of the Chi
dren of Israel. Included in the faith
are men and women of all NATIONAL.
Ties: Thou shalt not kill" Is followed
to the letter by them, and accordingly
they eat only vegetarian food.
Devout religionists, they live strict
pure life. Yet when tho question ..
prohibition was voted upon they voted
wet" They believe IN Temperance
not the restriction Of Liberties, some 0.
them explained in their dressing room
at the theater. Tho mon are 4 power.
iuiiy built, intelligent group. Their
baseball nine was ono Of the best semi
professional organizations in Michigan
last season. and Paul Mooney. one o.
me pitchers, was offered a chance vita
the Chicago National League team.
money Is an unnecessary odity
In the Benton Harbor community. II
one OF the brothers needs q suit Of
clothes he puts in an order for it and
gets 1t. The brothers run their own
boat from Benton Harbor TO Chicago
distance of sixty miles; maintain a
large amusement park, which has thou.
sands Of visitors during the summer;
manufacture the cars and locom Olives
used on the miniature railroad which
IS operated in the park. cut timber 10
their timberlands, $50 miles north Of
Benton Harbor; make the concrete ard
build the houses needed and run the
farms. man does the work he is best
fitted for, and Is allowed to choose.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1920-04-11
In Picture Theaters

RIV o L l-"Treasure Island" from
Stevenson's novel, with Shirley
Mason; Chaplin Comedy Evening
in Tavern" and other musical
numbers.
CAPlTOL-Nazimova in "The Heart Of
a Child; Herbert Rawlinson in
Chang and the Law; Puccini's
opera, lie Villi"; other film and
musical features.
SIKAND-Norma Talmadge in 1.-The
Woman Gives; scenic version Of
"Snowbound"; other I'm and musical
features.
RIALTO-violet Heming in 1.-THE
Cost; Gee Whiz." comedy; mus
cal and topical numbers.
BROADWAY-Priscilla Dean in "The
Virgin OF Saamboul," for thu fourth
end last week; Eddy Edwards, ~
ean4i Apsteal and tepieal numhsra.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1920-04-11
Why an Author Writes
One-Acters When There
Is No Market for Them

Though George Middleton IL author
or co-author of plays produced by
Julia Marlowe, Margaret Anglin. Nazim-
ova and others, as we'll as "Polly With
Past" and adam and Eva" at the
Longacre, the recent publication Of his
fourth volume of one-act plays
Masks" inspired the interviewer to
ask him why he turned to the shorter
form of drama.
We'll, the one-act form offers pecu-
liar opportunities for dramatic expires
sion," he said. ut is a mistake to sup
pose it is only a condensed longer
drama. There are many plays pro-
duced on Broadway which are essen
TALLY one-acters blown up, with long
internissions, to fiji an evening. There
are, however, certain ideas which can
inevitably be expressed in the one-act
form, and to lengthen them Is to hurt
their dramatic effectiveness Then
again the use of the form has its fas-
cination. Technically it is difficult be-
cause OF its necessary compression, it's
need of quick characterization and sus-
tanned mood
Personally, have tried to use it as
the vehicle to externalize certain phases
OF. human nature in conflict with social
movements which have interested me.
have been trying to treat it as an art
form in itself the way it is so widely
recognized on the Continent. For there
all the leading dramatists utilize it,
recognize its dignity and have often
found in Its use q medium for their
best expression. One has only to re-
call the one-act plays of Strindberg,
Bahr, Bracco, Sudermann, Schnitzler,
Barrie, Shaw, to sec how prevalent
it u.s."
"But why do SO many Of the rccoe-
nized playwrights in America shun it %
Because there is small opportunity
for its commercial production here.
With the exception of little theater
groups and occasional sporadic efforts,
one-act plays have not had profess
sional recognition as abroad where the
repertoire system exists. Here vaude-
vile is its only professional home.
And while there are many good plays
in vaudeville, as rule the play which
goes in vaudeville is one which Is
written especially for it. Serious
plays, where the emphasis is essen
TALLY on character or psychology
rather than a purely external situa-
ton, have small chance of success be-
cause of the peculiar demands which
the broken moods of vaudeville COM
pei.
"And what manager this season has
dared a curtain raiser or after piece !?
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1920-04-11
VaudeviIIe
PALACE--N

PALACE-Madame Emma Trentini Will
positively make her vaudeville
debut tomorrow. She has dissp-
pointed on two Mondays. The Lee
children-Jsne and Katherine-will
appear in person. Herman Tmberg,
Hattie Darling and company will
present musical comedy review.
Others are Walter c. Kelly as The
Virginia Judge" and Zomah. the
mind reader.
klVERSIDE-Joseph Santley and Ivy
Sawyer, the musical comedy favor.
ties. will top the bill in Bits and
Pieces" Victoria Miles. Dorothy
Chesmond and Madeline Van. George
Kelly and company, Swift and Kelley.
Clare Howard, Nate Leipzig ana
Mijares and company are also Oh
the program.
COLONlAL-Bessie Clayton and con-
pany, Mosconi Bros. and family
George Price, Leonard and Will.Ss
and Lloyd and Wella are the prip-
cipal feature attractions.
EIGHTY-FIRST STREET - Soph's
Tucker will be the headlinsi. Thomas
II. Ince will present mis- picture
Dangerous Hours" by C. Gardner
Sullivan.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1920-04-11
To-day's Burlesque Show
Has Advanced So 1t Now
Rivals Musical Comedy

Can It be that the Sherman law has
unconsciously Influenced the burlesque
stage? AS "beef trust" It (the afore-
mentioned stage) seems to have been
dissolved. Gone are the burly blondes
OF yesteryear who added weight to
every "butleyque" production. APP
parently they are as extinct as the
dodo.
MaShap the general exodus to the
ranks of the "unspoken drama" has
lured the heavier characters, together
with the slapstick artists, from the
comedy. Or then, maybe, it is the gen
eral growth of the gentler sex as bur
lesque patrons that has caused the
revolutionary change.
1t was to decide this all important
question on which the peace of the
world depends that the Columbia The
alter was visited last week. 1t was an
nounced that 81. H. Herk and Arthur
Pearson serve you Girls a la Carte in
two banquets of three courses"
we must confess at the outset that
1t was most unusual dish to set be-
torc the burlesque epicure. To our
own less experienced taste it smacked
more of the musical comedy served
with variations. but we must admit
that the decorations served with each
dish were very tasty. The chickens
were all we'll dressed, with excellent
trimmings.
But let us describe It so that YOU
can realize the change that has taken
place since the days when tho we'll
stuffed German, comedian (so-calledl
slapped the burly queen with happy
abandon-but not on the wrist.
There are slappings in this latter
day burlesque, but they are more Of
the wrist variety and less those Of
yorc.
Just like musical comedy, Girls A
la Carte" made up in tuneful numbers
that which it lacked in plot, but then.
or course, plot was unnecessary to en-,
tertainment. The two banouets were
no more than two acts, each divided
INTO three. sscenes, of excellent setting.
There were the main characters In
the show, supported by chorus girls.
just like those usually in musical
comedy. There was some excellent
dancing, particularly by Tiny Belmont,
who gave an exhibition of toe dancing
that would have graced any ballet.
jamie" Coughlin as leading come
dian, proved himself to be a master in
his art, not only in funmaking, but in
makeup. He was admirably assisted
by Charles Pagan.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1920-04-11
Who Would Not Ride
'The Hottentot'' for
Fair Frances Carson ?

Even a man who had never seen q
100 mile steeplechase for Frances
Carson. So Willie Collier is not SO
much the hero after all when he rides
the fiery steed to victory for her night
ly at tho George M. Cohan Theater.
Willie knows horses, looks into Miss
Carson's eyes, listens to her soft voice
and then jumps into the saddle. A man
could not do otherwise
She was watching for her cue to go
on and sew the rent In Willie's rid
ing brooches when the Tribune re-
porter came in to chat for few mo-
ments. AS Peggy Fairfax, whose great
est interest in life is horses, her Per-
sonality and charm help Sam Harring-
ton willie Collier) to regain his nerve
long enough to cling to the back of
of the steeplechase
Her riding costume laid aside, she
had donned an afternoon gown.
People take ME for Francine Larri-
moro and Fay Banter Do you think
| look like them ?" she asked.
At was admitted that she resembled
the star of Scandal
Il am taller than Francne. We look
into the mirror together and call one
another sister,"
MISS Carson spent last season with
Bertha halish in THE Riddle Wo
Il think it is a wonderful experience
10 go from female star to a male
star like Mr.. Collier ia rather be q
small success in a success than
pig success in 81 fail,Ire SOnp1;s a.,
tricatc. doesn't it? But YOU know what
l mean" she said smilingly what is
the commercial value OF an excellent
part in pay which lasts week or
two! 1t is much more satisfactory TO
nave smaller part in d success. isn't
1t! But that IL not because / look at
the commercial side Of the theatar,
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1920-04-11

II himself, but there ara strong doubts
in the mind Of any ono who talks to
Wynn whether 1t will do other comedi-
ans any good to listen to his confession,
For Ed Wynn's carnival might as we'll
De called ED Wynn, HIMSELF" and one
VINO sees the carnival several times dis
covers that there are many impromptu
lines coming in on each performance.
That Is where Ed Wynn comes In. but
that ID where he is uncommunicative.
All Is not milk and honey in the ex-
lstence OF starred comedian. After
nIteen weeks on the road with his car
nlval IN tour which included the most
important cities of the East. WYNN
came back to broadway frankly ner-
vous. The carnival itself was slightly
changed for the opening performance.
and is still being changed. The Trib.
one interviewer caught the comedian
at odd moments between his lightning
changes, when he was being questioned
by every third person in the cast;
again at the intermission of his first
matlnee performance, when he sat down
YEARLY and turned to throat lozenges
LOT comfort. For, OFF stage and on the
subject OF amusement, Ed Wynn is
serious: Us he as funny off stage as he
Is on stage?" people usually ask about
a a+r. comedian: With Ed Wynn his
strenuous part in the performance ard
the worries of a man who wants 70
make good with the Broadway audi
ences combine to make him in deadly
earnest off stage.
:, For II Broadway success greets thIs
the f1rst Of the Ed Wynn carniyals. he
plans, IN conjunction with B. c. Whit
ney, under whose business direction
the present carnival is given. to nre-
sent next year not only second edi-
ZION OF the carnival. but also a musical
comedy, farce and drama. So Won
can easily understand why Ed Wvnn
IS serious off stage and finds it hard
70 sleep O. nights during the first veal
OF the carnival. He confessed thai ~
present carnival was thrown together
IN state approaching hysteria in an
unpehevably short time. With tho
next carnival he will have six n,orths
TO work and plan and build. PERHAPS
although he himself did not succes 4a r.
idea, the informally with Wick tho
carnival was brought together nav he
responsible for it's intimate appeal
Pressed for the source of his acou;s;
ton of the Meyakos, the trio ~ roa1
yy,aapanese;, Regal and Moore. LiIlion
Fitzgerald. Evan Burrows Fontaina and
the rest of his cast, the harassed ac anu
said: Just say for me that I wo,'. ";
Vulge that secret W.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1920-04-11
Ed Wynn Is the Cook
And the Captain, Too,
And Grew of Carnival

Trying 70 interview Ed Wynn 10 not
very different from trying to interview
three rings OF . circus at tho same
time. Outside Of being tho author of
the book Of this musical entertainme mt
and the composer Of several Of tho
sngs, the proprietor Of the street
carnival, the barker" at the main en-
Lea and a few other things. Ed
wynn hasn't much to do with his own
snow. And outside Of listening with
the ear Of an employer to everybody's
troubles at one and the same time. he
hasn't much to worry about in connec-
ton with the show.
That gives you some idea Of the dif-
ncuity Of putting questions to q man
VINO 10 IN the act of changing from one
81 his odd collection Of hats to an
other: Not that tho idea of serious
questions persists long after Ed Wynn
begins to talk Of his carnival.
FIRST and foremost, the comedian de-
ciared his Idea was to give the audi
ence the impression Of listening in
their own home to some one entertain
Ing them; it is intimate humor carried
TO the limit. In the most serious scenes
pr the carnival, where most producers
you'd exact the last sentimental sigh
from the audience, Ed Wynn walks In
upon the stage in one of his manv inn
personations of himself, and there is
healthy reaction in outlaws from the
audience. Nothing In his own show is
sacred to the playwright-comedi an. he
pokes fun at the director, at the audi
snce, at the nominal hero and heroine
OF the piece, at Regal and Moore. the
acrobatic team, at every member Of the
cast, at tho scenic effects and At him
self.
All this is done, according to Ed
Wynn, to bring the members Of the au
dience to the same mood that possesses
them when Cousin Charlie, who is an
awful cut-up. does some parlor tricks.
to the tune Of running fire Of friend.
~ repartee from his audience. WYNN
wants the audience to forget that thev
are in the New Amsterdam Theater. so
ne unbends. Things on the stage pro-
coed IN an unprecedented manner; the
comedian lets the audience in on some
choice inside information about the
troubles of a playwright, and he brings
the entertainment out, bit by bit, and
ine by line, as if he hadn't thought of
DONG. the thing until the last minute:
ne talks to the leader of the orchestra
and Frank, the violinist, as If he had
forgotten all about the audience. and
the audience gets very uproarious over
this neglect.
That is Ed Wynn's secret as he tells
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1920-04-11
Burlesque at Columbia

The Bchman show, one of burlesoue's
standard organizations, will come to
the Columbia Theater this week
with a new production. A two-act
burlesque called Putting 1t Over" will
be given, with vaudeville specialties
musical features and deliberately staged
dancing numbers introduced at fire.
Quent intervals. The principal comedian
Of the company II Harry r. lander.
who has not been seen In this house
ba9ore. Mr. Lander viii havs the sup
port ct Marie SpaxroW, 4 comsdieuna,
Ard AzaetA fynaa, q classical aaneon