davidaulloa/AmericanStories huggingface dataset:
New-York tribune., 1920-12-19
Frank Craven Talks Over
The Value of Sub Title
With a Subway Guard

Frank Craven admits he deliberately
used subtitle to explain the mean
ing of his play, "The First Year" and
is ready to justify it.
why" he said recently, 'if hadn't
tagged on the phrase a comic tragedy
of married life the Anti-Saloon League
would have got out propaganda against
It, The stencil dauber would have
kicked and tried to cut out the THE
on the scenery and prop boxes; and
John Golden and Winchell Smith might
have made me change the name to
Loves Labor Lost And think of how
tbs lifers up at Sing Sing would have
Knocked it!
"When I was all up in the air about
guard who is one of the greatest under
ground students of the drama, and he
told me | was right in doing it.
"'Why, Mr.. Craven he said, the
dramatic editor of The Subway Sun
told me he would use a subtitle on
that sheet hanging over there if he
had the room; and it ought to have
one, too. Pm for the subtitle
And then he went on clear past
Borough Hall and into Atlantic Ave
nue., giving me a history of the
S'o"tn, ueVelOpment, population and
principal products of the subtitle. He
was the fastest talker l ever listened
to. He didn'. yell, but ] heard every
word he said, and all the time he
opened and shut the gate valve, paren-
thetically called the stations, and
never hit a passenger. This is in sub
stance the way he thought it out:
"'You New Workers. think Brooklyn
is subtitle, don't you? Well, you're
wrong. Who won the baseball cham
pionship title-hey? Who was the sub
title then-hey? Are you listening
the Giants. And when the twelve club
league gets going that team will be
footnote.
"'But the subway title is all right,
all right, and ought to be elected by
Harding plurality. Take that play
The First Year" at the Little Theater.
Now, | never get to see a show, not
even a peep at moving picture; but
l understand Job Hedges and Garrison
are going to put in films at the end
of each run and give US first run
features III the end car before we go
out again. But talk about sub-titles--
last Sunday about midnight-I'm off
New-York tribune., 1920-12-19
Frank Lloyd's Innovation
Proves Complete Success.

Frank Lloyd believes thnt it will not
be long before screen actors will be
playing their parts before spectators
instead Of only for the eye Of the
camera. He believed that the artists
needed the stimulus of applause so he
tried it out when he directed Pauline
Frederick in MADAME X"
By arranging for her to play before
an absorbed and partially weeping audi
cnce in the courtroom scenes or
MADAME X Pauline Frederick did
tho greatest screen characterization Of
Ger career. Theatrical tradition in.
forms u.s. explains Mr.. Lloyd. chat
the greatest inspiration for emotional
acting to player is the audience
hcncc my idea for this experiment.
which proved highly successful"
ms comes as revelation. for in tho
history Of pictures never has an audi
encc watched II star playing before the
camera. IL is strictly taboo, But
mr. Lloyd states that he "purposely re-
tanned several hundred high class cx
tras TO try out the theory that n stage
st"r would do far better on the screen
II actually playing up to real audi
cncrt and the result was more than
gratifying" '""''
New-York tribune., 1920-12-19
Fascinating Illusions
Are Plentiful in Sarg's
MariOnette Performance

Those who have Inadvertently chanced
to look at the stage through the
wrong end of their opera glasses
while at the thcater will doubtless
vlvldly recall the astonishing illusion
they experienced of seeing the actors
suddenly, as If by magic, reduced to the
SIZE OF mere dolls. This fascinating il
fusion is intensified when witnessing a
performance Of Tony Sarg's Marion
cites, which are being presented at a
series Of matinees in the Punch and
Judy Theater.
FROM the moment that the curtains
part and reveal the tiny stage the spec
tator is carried away by the illusion
that the puppets are living people. Not
only DO Mr.. Sarg's puppets use their
srms, hands and feet in walking. dane
ing, playing the piano or making love.
with ease and grace, but some of them
NICK Ncddcr, for example, wink at
pretty maids and move their lips to the
speech of the concealed reader
trom the wings the performance is
evel more interesting and wonderful
The marlcnctte stage which Mr.. Sarv
has developed is surprisingly compli-
Gated thing. Eight highly trained
puppeteers are necessary to give any
ono performance. These puppetecrs.
rtationcd on bridges above the little
stage, manipulate the figures, speak the
llnes, change the scenery, work the
elaborate lighting equipment and pro
ylde the music on variety Of specially
designed Instruments
New-York tribune., 1920-12-19

then-wc had a homebrcwfest. and
the talk turned on the theater I had
read the sub-titlcs Of THE First Year"
comic tragedy of married life. SO
just claimed ! was at the first night,
and then and there wrote my own play
and acted it, and even though my wife
didn't like the way the story turned
out because I won, the rest of the
sorority now look on me a. o. X. play
goer and first nightcr, and Ike Bsmuth
asked me the other day if thought
Iolstoy could do scenario for Robert
warwick. Hoyt Street, Hoyt Street.
Lady, don't jostle that policeman
Why, the motion pictures would
mean no more than lot of these
streetcar cards without the sub-titles.
And I'm going back to moving pictures
because they are older than the drama
yes, by thousands OF years In 1000
B. c. we had the Sumerisn pictograph
and if you don't believe it write a
letter to any beauty contest editor.
Inen pictures of objects stood for the
things themselves. house for house.
jug Of wine for Nolstead wabblo. an
eye for wisdom; ana if you want to fol-
l~"' the old Sunlerians just add a black
eye to Your subtitle for "Thc First
Year Even to-day the labor unions
New-York tribune., 1920-12-19
AT the Hippodron,c

haries Dlllingham plans special
,%ature. beginning tomorrow nignr, IL
Good Times which promises to sur
pass all the other episodes of the cur
rent spectacle and which Will again
emphasize the great size and possibili-
ties OF the Hippodrome stage. The
n,AWstmas novelty, staged by r. H.
burnside. this season is an actual re-
production of race course and race
winch viii show in detail one of the
turf victories of Man O. War, the great
race horse. With the aid OF a specially
constructed revolving stage the Hippo
drome holiday audiences will enjoy the
e%cltement of seeing a field of ten
thoroughbreds ut full speed bearing
down upon them. the great chestnut
colt IN the lead, with the entire field
sWervng a. it reaches the footlights
and rounding into the stretch. The
,Ace to be reproduced will be the
ruturity run at Belmont Park Septcm-
per IL, 1910, and will be but one of
the novelties to be added to the pro-
gram Of "Good Times" for the Christ
mas holidays.
New-York tribune., 1920-12-19
Phil Baker Hopes to
Quit His Accordion for
Light Comedy Work

Will Rogers used q lariat as foil
for his monologic quips on current
events and witty sayings. Whenever
thought was slow in coming he would
twirl the rope and hold his audience
anyway. Phil Baker makes an accor-
dion serve the same end. Nightly he
steps out on the stage of the "Ziegfe!d
Midnight Frolic" on the roof of the New
Amsterdam Theater, accordion in hand,
and gives play to his natural, intimate
form of humor. There is no hint of
the theater in his performance. but the
suggestion is more of a gathering of
friends in the parlor at home. When
tests come not, he turns to the accor-
dion and it serves him as faithfully as
the lariat served viii Rogers in the
same place several seasons ago. Baker
plays it and plays it we'll
III his ten years on the stage Baker
has never been without his accordion,
and his name has come to be identified
with the instrument. Yet he looks
forward to the time when he will be
able to lay aside the accordion and
depend upon his ability as a comedian
for success in the theater.
although the accordion has been
faithful foil in my work in the theater,
am afraid long continued use will
New-York tribune., 1920-12-19

Margarcts mother who had brought
about the possibility of New York and
stage beginning. in spite of her
fathers opposition to it, After "Shen-
andoah" Miss Anglin played leading
roles with James O'Neill Richard Mans
ileld, f. II. So.hcrn and with the ola
Emplre Stock Company. In Mrs.
Dane Defense" she had definitely at
tanned major success. In "Zira /"
shortly afterwar1, She was recognized
as full-hedged star.
The Great Divide,' in the memorable
role of Ruth Jordan, Miss Anglin
scored nationwide success. With "Thc
Awakening of Helene Richie" she as
sumed managerial sponsibilities (then
almost unhcard of for woman and
became her own director, manager and
producer. Since that time Miss Angl;n
has held significant place in the
managerial field, selecting for produo-
ton not only the best in Eurliyb
literature but the greatest master
pieces from the classics. For these.
the Greek plays, She won in actual
ngures an audience of more than a
mllllon people in the country, after
every broadway manager had shui-
dcred at turipides and Sophocles and
condemned Attic drama as "lnprac-
teal tical'" "dead" and utterly impossible.9 p
Not only has Miss Anglin made an
artistic success of the Greek revivals.
but they have proved financially sound
ana practical, although she undertook
the first Greek play without a penny
OF capital behind her other than her
own limited earnings and with no man
ager TO advise or direct her.
Besides the "Antigone," "Electra.n
"Medea" and "Iphigenia," Miss Anelin
has spent great deal of time With
lne Shakespearean comcdics-"As You
Like IT." Tanning OF the Shrew."
"Iweiith Night" and "Antony and
Cleopatra" Oscar Wildc's "Ladv
Windermere's Fan and "A Woman
Of No Importance" are also important
events in her career. Of the lighter
comedies Green Stockings" Caro-
line "Bevcrley's Balance" and "Billct-
cd arc perhaps the best remembered
because they arc the most recent.
Since Miss Anglin has been PLAYING
IN her present vehicle, "The Woman
of Bronze,' which occupied her time
on the road last year and now promises
10 keep her busy the entire season at
the t'razce Theater, she has tried out
tin San trancisco) for the first time
on the English-sp speaking stage Emile
Moreau's Joan of Arc" PLAYED pre-
vlously only by Sarah Bernhardt. Miss
Anglln p lans to present this drama in
New York in the early spring.
New-York tribune., 1920-12-19
Hal Forde Tried Many
Things, Then Chose
Theater for Career

Hal Forde, who is playing in Zimbal-
lists musical comedy "Honeydew,' at
the Casino Theatcr, had unusual oppor-
tunites to study human nature before
he decided to turn toward the stage fol
Il career. After leaving college he was
an interior decorator in London a
miner in Australia, amateur middle.
weight champion III Cape Town, South
Africa, a soldier in Scotland, a trainer
and owner of race horses in India and
cowpunchcr in Montana.
"lf those experiences counted for
nothing more they have at least pro
vIded me with excellent capital for
my present business" he says Each
occupation brought to me new cxpc-
rlence and, rs | drifted in and out of
my varied pursuits, the chance was
given me to study human nature at
almost intimate range.
Il have been asked by many people
now | make the transition from tho
ccccntrir, practical old man in the FIRST
act OF 'Honcydew' to tkc juvenile light
ness with which tnat same character
Is played in the second act. The change
can be summed up in very few words
experience and the study of human
nature A singular coincidence struck
me the first time that Mr. Weber
handed me the part of Henry Honey
New-York tribune., 1920-12-19
Why Shouldn't Ghosts
Appear in Brocades
OF Gold? Asks Mitzi

A modern ghost displaces her filry
white robes and white face for cold
brocades and pink cheeks in "Lady
Billy, Henry w. Savage's new piece
tor Mitzi at the Liberty Theater. The
ghost appears each night at twilight on
the stairs dressed as in the early
seventeenth century. The ghost is that
of a girl who loved and who died Of ~
broken heart. She wears the same
royal gown that graced her dainty form
when she posed for great artist to
paint the portrait which still HANGS an
the castle wall
Neither history nor .,r can he
offended at the gown which .Iitzi wears
as this "vision." She appears holding
a Hover like Van Dyck's portrait Of
the Marchese Cattaneo. The facial eX-
preston, the glow of color and the
SWING OF the design accentuate a note
OF pathos. her gown is of antique gold
and bronze brocade. The full skirt
hangs from an extended peplum to The
f1oor The bodice is snug and heavily
ooned and is cut square at the neck
with large Elizabethan collar of gold
race. This collar fastens in front with
tlny green bows and over the shoulders
arc frills Of gold lace embelished Win
silver and studded with pearls.
The large puff sleeves are caugh. at
the wrists with frills Of gold lace. On
Mitz's head is a small, tight-fitting can
with car tabs. 1t is of gold lace and
green satin, decorated with pearls and
brill!ants. The Paradova rope of
pearls that were the family Jewels
many years ago. hangs round her neck
and reaches to her knees
Ghosts are only memories made real
to some,' says Mitzi. "Why shouldn't
ghosts appear in gold brocades as we'll
as white robes %
New-York tribune., 1920-12-19
Ube Gholution of 4 @tar
Margaret anglln

Margaret Anglin-comcdian, TRACE
dian, theatrical producer. Only thosc
associated Win the tnce ter gas.
the significance of Theatrical pro
Queer" and comprehend the difficult
avenue of approach that leads TO the
managing" goal. Yet the assumption
of managerial responsibilities in the
theater Is d realm of the American
stage, previous to Margaret Anglin's
production OF the Greek plays, where
women Iolk have ncver * t.cu 1A
marked influence, although they hola
eminence in acting. How it fell to the
, lot Of Margaret Anglin to achieve
tiumphal recognition in this feld never
before successfully invaded by wom-
an, and at the same time to win the
foremost place as d comedian and
tragedian in both classic and modern
drama, offers material for several vol
ume5.
But to briefly sketch the barcs. high
lights in Miss Anglins colorful career
1T is necessary to go back to the House
Of Parliament in Ottawa, whore the IL
tant Margaret was born. Her father
was Speaker of the House, and it was
customary for the Speaker TO live in
the Parliament Building. Coming from
such a distinguished family, social
N~bHO lcliNl IlldIi - SbdSt CdlCtL udU
been planned by the Angin family for
their blossoming daughter. When she
showed marked ability in reciting
pieces" in the Convent of the Sacred
Heart, in Montreal, where She went to
school, her father instructed the nuns
not to allow his chill to be given fur
thcr opportunities for dramatic express
sion. But, since "genius viii out" de-
spite all efforts to suppress it, little
Margaret, twelve years old, uncxpect-
cdly arose without invitation at the
graduation exercises, W.icn ner parenls
were attending, and delivered scene
from Shakespeare. to the astonishmen.
of the Sisters and every n pr sent.
with such childish cloquence and grace
that her father was persuaded to recog-
nize his daughters histrionic talent
Yet at that time, and even long after
ward, when Margaret Anglin was plav-
ing leading roles with the Empire Stock
Company and her parents came to tho
theater TO sec their gifted daughter act
for the first time, her father sat
through the entire performance with
his eyes tightly closed, still loath to
recognize the fact that his daughter
had selected stage career. And in all
Miss Anglin's brilliant successes which
followed he never saw her on the stage
Margaret Anglin's professional DEBUT
was made in "Shenandoah" when shc
was sixteen years old. IN followir"
out her dramatic aspirations it was
New-York tribune., 1920-12-19
Riesenfeld Gives Musical
Comedy Adaptation as
Rialto Theater Novelty

screen musical comedies are move! s.
Oh Broadway. The nearest approach
to such an entertainment VIII be the
presentation at the Rialto Ihcaier o.
"Oh, Lady, Lady," a Realart photo
play of the Princess Iheatcr success.
this week. beginning today.
When Realart Pictures ADAPTED the
play for the screen, Edit' Kennedy
writing the scenario and Maurice
Campbell directing the production, Only
the book and lyrics by Guy Bolton and
+. q. Wodehouse we're made use Of.
Jerome Kern's music, not tie least OF
the attractions Of the original produc-
tion could not be screened. 1t was -
problem for the producers and one
winch the camerl art conld not solve.
But II was not a problem for HUGO
Rlesenf Id. He had his Rialto orcnes-
ira for the Interpretation OF Kern :
music; SO he commissionc Emanuc,
Baer, who arranges the incidental
music for many screen productions 81
the Kicsenfeld theaters, TO sNnchronize
the original score with tho newer
screen version Of the story.
The story on the Rialto screen VII
b5ve selections from the opening nun
bs.s of the original production. nclul-
my the popular Bridesmaids Chorus
which constituted the finale Of The irs;
act at the Princess.
The Boiton-N odehousc book, J. vii b.
recalled. told OF the interesting COMP
cations which resulted some five yea
after the pathetic parting cf country
girl and tat artist. when INC sl''
now n clever title actress, decides 70
drop in on her former sweetheart G..
1 he very dav when he plans 10 crlt.
wedlock. Her demand ior at least :
minute or ;here1l be trouble" sets tn
Bridegroom worrying and makes MN ar
easy victim to = reporters plan TO N
trcduce still another girl. She Voi1'
teers for the role OF vamp.
In the cas-, OF "0h. Lady Lsdv' 49,
Bebe Daniels, May Barber, knc' ?
on the stage IS Rilla Rooke' lis
son Ford, as Hale Underwood Wa'if
HERS. as Willoughby Finch, ther,o'
Woods, as Molly Harrington; li!'ie.
Langdon, is Mrs Farrington- and JAG
Doud, as Alec Smart, the reporter
New-York tribune., 1920-12-19
New Productions Oven
Out of Town; Ready
For Broadway Showing

These new productions recently
opened out of town, preliminary to a
showing on Broadway:
"Pagan.' by Charles Anthony. nro.
duced at the Plymouth Theater, Boston,
December 10, with Irene Fenwick. Helen
Ware, Alice Fischer, Frederic Burt
Joseph Shilkrout, David Glassford and
Harold Vermilyca. No New York date
set.
Watch My Smoke by Walter A.
Rivers, produced at the Alcazar Thea.
ter, San Francisco, December -, with
Dudley Ayres, Elwyn Harvey, Charles
fulc, Henry Simmer, Raphael Brunette,
Albert Cunningham. Anna MacNaugh
ton, Ben Erway, Walter Belasco, Edna
reckham, Fredericll Green, Walter
Emerson and Edith Searles. No New
York date
New-York tribune., 1920-12-19

Rameses, the cigarette monopolist
| started using sub-titles to explain hi
hieroglyphics. It's long story. Nevins
Street! Nevins Street. No. not Mar
cissus-Nevins, Lady, voul little boy
/ Is losing his title
But I'm for the subtitle. That
play "One" at the Belasco needs one
and Rudyard kipling's poem If Why
don't you write play and call it "Bui
If and you won't have to apologize
for sending it to the camphor. It's a
great idea, this putting or motion pic
lures for us guards. What they want
to 40 is to give us plenty OF travel pic
lures to satisfy the wanderlust we
don't travel enough in these subway
don't care what lands or waters thcy
show us as long as the sub-titles arc
all right. | haven't seen High Bridgc
for six years and don't know whether
it's been moved or not, but just lc'
them show us 4 picture, | don't car,
what it is, make it the Bridge of Sigh
at the Tombs and subtitle it H. -
Bridge and III go home happy. Sly
what does the new courthouse Loo
like? I'd like to see motion pictur,
of it going up. It's information ~,
need down here. I haven't been up foi
air in daylight for six years. Is the
Statue Of Liberty lighted up? Atlantic
Avenue-no, not Pacific-Atlantic- all
off before the tide comes in.
"'Wait a minute; here comes the
boss of the social welfare division. Say.
boss, when do you start the motion pic
lures for US guards
50 Next Saturday, midnight, answered
the boss.
Great! What's the first run going
to be-Douglas Fairbanks?
No, sir said the boss, something
informative-it viii be "Boston's In
provement Under Ten-Cont Fares
Any war taX?' And the subway
guard changed his sign. i guess III
stick to these subway sub-iitlcs,' he
ended
New-York tribune., 1920-12-19

make it more of a detrimcnt than a
help to me. Thcater audiences will
oegin 10 think that | can do nothing
without the accordion and there will
be no chance to advance. Until | went
INTO the navy never tried d monologue
in my act, but depended solely upon
my ability as Il musician. But | de-
veloped the monologue while entertain
ing during the war and now feel that
| can do light comedy work without
the instrument For years Joseph Cav
thorn played concertina, and | may
nave to keep on playing the accordion n
II go into musical comedy, but event
ually | hope to be able to give it IN. y
New-York tribune., 1920-12-19
Interesting Chat and Stage Gossip for Playgoers
Miss Kennedy's Stage Life
Has Four Corners to 1t
And Her Home Life One

eating a peach Melba. Isn't she sweet
] patterned my Mennonite maid after
her 'Tillie.' Here it is 6 o'clock and
I've got to have dinner at 6:3O to
get to the thcater in time. | can't
get used to eating so early and Mr..
Bolster tries to make me eat more all
the time; says III get thin and look
old if / don't"
And Madge Kennedy (herself), the
sweetest actress on the stage, star Of
two shows on Broadway, with home
in the country and home in the city,
climbed in her $4,000 car and wer.
to meet the handsomest young HUSBAND
in the world.
There may be a fourth dimension,
but we refuse to believe that there is
q law Of compensation. Some people
have all the luck all the time.
New-York tribune., 1920-12-19
Parker's Special i'roduciicns

Albert Parker, who has been direc'
ing Norma Talmadge IN hey last I"
productions, has sign, 4 a now contraes
with Joseph II. Schenck whereby nc
will make a series OF special produ =
tions, all to be taken from we'll know i
books or nkays. Mr.. Parker is At pres
ent directing Miss ralmadge IN Satan !
Paradise" founded on the cook On Pm,
ciple, by Andrew Soutar lie also VII
direct Norma in "Smilin' Through hv
Allen Langdon Martin, the play IL
which Jane Cow, was starred on Broad
New-York tribune., 1920-12-19
lbanez's Tale for Metro

The Four Horsemen of the Apoc-
aalypse' will be released by Metro the
hrst of the year. !S was begun last
..'Auary IN The vest cast stu s., md
Is now being edited and titled. The
total cost of the film will be more than
siO0O,OO0 June Mathis adapted lba-
nez's story to the screen, and the pic
ture was directed by Rex Ingram.
New-York tribune., 1920-12-19

dew. AS continued to read it | found
that it was almost the life of nv racine
PARTNER in Calcutta, who. being freed
rom an unhappy first ma -riagc. found
in his second attempt the happines IS
and contentment that the first had d.
MED him. Having known him quite init
mAScly | was able TO build up nv part
aioAg the unhappy and happy expert
e..ccs of that old friend y
New-York tribune., 1920-12-19

do a Sumerian for power by using !
copy of Jack Dempsey's right arm. T5e~
when the original Sumeria.r arrIsts ha
came newspaper cartoonists tbev VA
to use sub-titles to show what thev y
meant. That's the origin Of the snb
title. And later in 5000 r ~,
New-York tribune., 1920-12-19
New Louise LoNeiv Picture

"While the Devil Laughs" is to na
Louise Lovely's next starring Vehicis
for Fox Films. The picture has rreVi'
ously been known as "rhc tnbclleN'
erS, William Scott viii be Miss
Lovcly's leading man.
New-York tribune., 1920-12-19
By Harriette Underhill

Madge Kennedy may be cornered, but
II she is there are five corners, for
there are at present five Madge Ken
nedys. Madge certainly is generous
lady. When everybody begs for her