davidaulloa/AmericanStories huggingface dataset:
The Daily Ardmoreite. [volume] (Ardmore, Okla.) 1893-current, 1920-01-16
Teachers Examinations

Teachers examinations for Murray
county will be held at the courthouse
in sulphur, on Monday. Tuesday and
Wednesday January 29th, 3Oth and
3lst, according to an announcement
made by County Superintendent Tom
McGbony.
The Daily Ardmoreite. [volume] (Ardmore, Okla.) 1893-current, 1920-01-16
Murray COUNTY Chicken Show.

The Murray County Poultry Show
Association held its 18th annual chick.
en- show in sulphur last Saturday. on
account Of the inclement weather, the
entries were not as man. as in some
former years, but a hne exhibit o.
birds were on hand.
The Daily Ardmoreite. [volume] (Ardmore, Okla.) 1893-current, 1920-01-16
Durant Woman Dies in Sulphur.

Mrs. IIoratio Veatch formerly of
Durant, died in sulphur Sunday, aft
er short illness The body was EN-
balmed and sent to Durant for burial.
She is survived by her husband, two
daughters and one son, all of Durant.
The Daily Ardmoreite. [volume] (Ardmore, Okla.) 1893-current, 1920-01-16

lacious in this city at least. Stats
tics of the prefecture Of police show
the rate is still sinking. The number
OF births in Paris in recent months
has been higher than ever, but this
is due to the fact that the popula-
ton of Paris has been augmented by
100000 persons during the last year
The number Of births per thousand
OF population, the vital test, is low
er at present than it was before the
outbreak Of the war in 1914. In 1913
the rate was II per thousand.
Ardmoreite WANT ADS bring what
Won want.
The Daily Ardmoreite. [volume] (Ardmore, Okla.) 1893-current, 1920-01-16
FRANCE AT FOOT OF
LADDER IN BI.sTH-
RATE PER THOUSAND

Paris, Jan. 1G.--Tradiuons that the
creases after a war, have proved fal.
The Daily Ardmoreite. [volume] (Ardmore, Okla.) 1893-current, 1920-01-16
GERMAN DESERTERS ARE
RETURNING TO "VATERLAND'

Geneva, Jan. 1G.-An enormous eX-
odus of German subjects from Switz-
The Daily Ardmoreite. [volume] (Ardmore, Okla.) 1893-current, 1920-01-16
Bowels on Schedule Time

the bile flowing freely, the fer
nentlng body poisons eliminated.
Dr.. Kings New Life pills make the
bowels function regularly and KEEP
he system cleansed Of gaseous In.
,urities. 25c. bottle, all druggists.
The Daily Ardmoreite. [volume] (Ardmore, Okla.) 1893-current, 1920-01-16

To Heal \ Cough
Take HAYES HEALING HONEY. 35c
per bottlc.-adv.
New-York tribune., 1920-12-12
George Marion Returns
To Acting After Fifteen
Years q Stage Director

Psychology, Of which some say a
perfect understanding is the open ses-
ame to the solution Of all the battling
problems Of life, and which others
term silly conglomeration of con-
sonants, is with us again, but in
much more simplifed form. George
Marion. who is playing with Henry
Hull and Alma Tell in "Whcn We Are
Young" at the Broadhurst Theater,
AYERS that it was psychology which
made him forsake directing and return
to acting. Mr.. Marion is character
actor of exceptional merit. His por-
trayals in "Blue Grass" and in "Toby's
Bow" are unforgettable vignettes of
the role of old Sam, another negro,
in "When We Are Young" is on a par
with both Of them. Mr.. Marion has
also been a versatile stage director,
IS may be gathered by a review of
some of the successes he has whipped
into shape Sleeping Partners" "Bus-
ness Before Pleasure" MADAME x
Believe Me Xantippe,' "Everywoman. ."
The Sultan of SuIu," "The Merry
Widow" "Sari,' "The Prince of Pill
SEM Pom Pom" and others.
But to get back to the original point
OF departure-psychology. Mr.. Marion
twist that urges man to take hold of
a thing to do it himself rather than
stand by and direct how it shall be
done which caused him to return to
acting after fifteen years Of directing
You can imagine the funk man
is in" said Mr.. Marion, "if he and a
companion have but one shot between
them to fire at q charging lion, and
the companion must fire that shot. He
knows his companion is dead shot
and that his nerves are as steady as
q rock. But he has that sinking feel
ing that his life is dependent on an
less and can do nothing for himself
] hat seems rather farfetchcd when
applied to acting, but they are anal
ogous, nevertheless.
when one is directing part. there
is always that kink in the back oi
ones head that he is dependent or
the efforts of another to produce what
lie wants to bring out; and, az I say
it would be an infinite satisfaction tc
get in and do it himself. This is no,
at all derogatory to the actors. I an
sure that my director feels the same
about me. And there is the whole
thing in a nutshell. | wanted to dc
things exactly as | wanted them done
without having recourse to the am
biguous use of words in order to con
vey my wants to another. SO here
am again, doing things once more tt
my own satisfaction-or as near to i
as is possible for any artist-and il
the thick of the fight doing my utmos
to win, instead of standing off to on'
side and directing it like genera
! on a hilltop. And if the general ha
the better view, at least we in tht
midst Of it have the most exciting
time"
New-York tribune., 1920-12-12
New Productions Open
Out of Town, Ready
For Broadway Showing

The following productions recently
opened out Of town preparatory to Z
showing on Broadway:
THE Ghost Between,' by Vincent
Lawrence. produced in the Stamford
Theater. Stamford, Conn, Thursday,
December Q, with Taylor Holmes, Laura
Walker. Glenn Anders, Ceorre Lyman,
William Brown and Daisy Rudd. No
New York date set.
MARY Rose by J. NJ. Barrie, pro-
duced in the Apollo Theater, Atlantic
City, December 2, with Ruth Chatter
ton, Ada King. Tom Nesbctt, D. B.
Clarence, Winifred Fraser, A. S Home
wood and Guy Buckley. Opens in the
Empire Theater December %.
"Deburau," Granville Barker's adap-
tation of Sacha Guitry's play, produced
by David Belasco in Ford's Theatcr,
Baltimore, Tuesday, December T. star
ring Lionel Atwill, with Hubert Druce,
Joseph Herbert. Sidney Toler, Rowland
Blackstone, John L. Shine, Edmund
Gurney. Elsie Mackaye, Rose Coghlan
Margot Kelly and others. Opens at the
Belasco Theater December %.
"Vogues and Vanities," musical
revue by Glen MacDonough and f. Ray
Goetz, produced in the Majestic Thea
ter, Boston, December /, with Johnny
Dooley, Anna Wheaton, William Kent
Clifton Webb, Helen Broderick, Robert
Emmett Keane, Lester Crawford, Mau-
rice Diamond, Evelyn Law and Edith
Hallor.
New-York tribune., 1920-12-12
6 Chat and Stage Gossip for Playgoers
Strict Regimen Off Stage .
Is Required to Conserve
Health and Beauty Assets

The idea of the average layman con-
cerning the private life of playerfolk
is in exact ant thesis to the facts.
Most people are fully persuaded that,
away from the theater. the players in
dulge IN a never-ceasing round Of gay
ETY. They carry the mental picture OF
actresses jazzing up the cabarets and
making the small hours hectic IN the
pursuit of pleasure. In reality the av-
erage player spends the time away
from the playhouse in useful sort of
occupation. The girl on the stage re-
aliyes too thoroughly how much of an
asset her beauty is n her professional
career to run the risk of the fading Ell
fects of diss patton. The leading men,
bers of "The Mirage" company, in the
Times Square Theater, furnish an Illus
tration of the seriousness of purpose
possessed by the average player.
To begin with Florence Reed, star Of
Edgar Selwyns play Of New York HE,
allows herself no time whatever Tor
pleasure A sixteen-hour day is reg
lated by the rigorous schedule. She is
ances as Rene Moreland, heroine of
"The Mirage" and extra matinees, but
is maxim a stupendous moving picture
at nreseat Miss Reed rises at 7:3o
M, has a cold tub and goes back
to Aed, where sne indulges in tray
breakfast" consisting of one-half OF a
toasted muffin and a cup of tea. She is
! ready to leave her home by 9 Il. M, and
| IS at tie picture studio n time to have
a consultation with her director be-
fore she begins work at I o'clock.
She works steadily there from IL until
4. with an allowance of an nour for
| lunch, during which time she perni Is
herself baked apple, slice OF whole
wheat bread, and cup Of tea. AT .
D. m Miss Reed is home again and
spends a half hour in the hands OF a
masSeuse.
At 5:45 comes her evening meal, con
sisting of one chop, a baked potato
and one green vegetable She never
ndulges in dessert. Az she leaves
home again for the theater, gives her
performance and reaches home once
more at 11:45; then she has some fruit
and goes 70 bed.
In such schedule as that by which
Florence Reed lives no one could find
anything to justify the prevalent be-
lief that the personal lives of player
folk are filled with gayety.
OF Florence Nash, wao is associated
with Miss Reed in "The Mirage" the
same thing may be said, for away
from the theater Miss Nash spends
virtually all her time in reading and
writing. Her book Of poems, entitled
June Dusk" received favorable no
tees. Her library OF rare editions is
the envy of collectors. This library
was started by the beQuest of an uncle
who left Miss Nash 5000 volumes o,
first editions. In addition to her inter
New-York tribune., 1920-12-12
Boarding the Lion of
"RollO's Wild Oat" i'm
His Own Dressing Room

cal" and she replied "syker WHAT"
and after that he asked us to do them.
Well, in the first place you can't burst
into Mr.. Young's dressing room and
sort Of sweep away his reserve with q
wave of juvenile enthusiasm. His
dressing room is built against the back
wall of the theater and is only little
box as big as a dovecotc. with narrow
flight of iron steps running up to 1T.
If Mr.. Young were hostile he could
stand at the top and shoot down
whole army of interviewers as they
came up the steps single file. But he
isn't. He stands at the top and cheers
YOU on. Only we were quite out of
breath when we reached his door, so
we had to put off the vital question.
and after we had sat down and rested
we didn't have the courage to ask t.
SO we told him that we thought the
play was marvelously amusing and that
he was marvellous in it. He agreed
with the first, but NOT with the second,
and we wished that he was more con-
ceited. Then he would talk about him.
self.
'Hindle Wakes and Good Grac Gus
Annabelle,' and "A Successful Calam-
ity' and Scrambled Wives'?"
"You probably have seen me in the
Algonquin. know Pve seen you there
lots Of times"
"Of course, and that is why I felt
so we'll acquainted with Rollo," and
yet when we climbed down those iron
stairs we had not put our question to
him. In her play Miss Hummer has
her hero say: "See that little bump
on my nose? It's broken." and what
we would like to know is whether the
part was written to fit Mr. Young's
nose or whether Mr.. Young makes up
his nose to fit the part.
New-York tribune., 1920-12-12
Uhe GDolutio11 Of a 5tar
Marp M2asD

We loved it 1t was probably because
of my father, however, tat | spent
omparatvely SO little time on the
road. lie always wanted us to be near
him ana whenever | was away with a
play called him up every night. Often
my telephone bills were bigger than
my salary, especially when | played
in Chicago. 1t was for this reason
my desire to keep in close touch with
my father-that I never played on the
coast"
Miss Nash first came into prom-
nence when she played Wanda, the
telephone girl, in David Bclasco's pro-
duction of "The Woman, She was
with. Ii was a long time before an
other part so suitable came her way
and she filled in the time studying.
She was leading woman in "The Lure"
but the role was not entirely con-
genial. Then she tried out other parts,
but for some little time, without find
ing one in which she could feel she
was altogether we'll cast Finally along
came Grace George with her roper
toirc project and Miss Nash was
chosen a member of that select coterie
at the Playhouse. The roles assigned
to her ntted her and one of them. that
of Vida Phillamore, the divorcee, in
"Thc New York Idea" gave her the
! real opportunity Of her life, which she
ably graspcd The public recognized
hat Mary Nash had made q long stride
forward in her profession. William A.
Brady recognized this also and as a
reward for her work in Miss Georges
company gave her the role of Marcelle
in "The Man Who Came Back
"The Man Who Came Back" was to
mean much in Mary Nash's career.
How much not even she was to know
until she opened her London engage
ment in the Oxford Theater to give a
performance that overnight became a
matter Of international interest. AT
the Playhouse here Miss Nash appeared
in "The Man Who Came Back during
| that plays phenomenally successful
ffty-sevcn week run, and then appeared
! in it on tour the following season in
the principal cities. Following the con
clusion of the tour of THE Man Who
Came Back" Miss Nash was reengaged
by Mr. Brady for "l. .. u" The play
proved a failure, and Miss Nash's
services were Immediately sought by
/ A. II. Woods, who starred her in "The
Big Chance" in which she scored an
other substantial success at the 4Sth
/ Street Theater
Then came her appearance in Lon
don in "The Man Who Came Back
Miss Nashs performance excited ex-
traordinary interest through the fact
that her work was acclaimed by Eng
iish critics in glowing terms, and was
cited as an example that English ac-
tresses might we'll try to emulate
New-York tribune., 1920-12-12

two people. and after you get seated
behind the rail, with your head show
ing over the top. you feel as though
you ought to enlist the services of the
man occupying the other seat and give
4 show. Then you know why it is
called the Punch and Judy, and you
realize that you are Judy.
But presently the curtain goes up
and you stop feeling like maronette,
for one hasn't much time to think
about himself when he is watching a
Clare Hummer comedy. This one is
all about youth with aspirations
wants TO play Hamlet. The youth is
Rolo and Hamlet is isNwid oat One
Of the most delightful scenes in the
play is where Goldie MacDuF, in the
character of Ophelia, rushes on with
telegram announcing that Rollo's grand
father is dying. Hamlet, not being
sure whether Ophelia may not have
gone up in her lines, stalls for time.
Get thee TO nunnery," he commands
in terrible voice, "1'o a nurnery go,
and quickly, too. FAREWELL"
But Ophelia insists on dragging him
cut 20 Long Island, where his grand
father is supposed to be dying, and
IS something rotten in Denmark, for
grandpa IS rot Ill at all OF course
Rollo was very angry with him for
Spoiiing his evening, and so were we,
for the production Of "Hamlet" was the
most amusing part of the play to u.s.
But It proved to be a successful calam-
IT,, for grandpa had 10 pay $s5 for
cab fare out from New York and then
he had a chance to meet Goldie and
learn that she was the granddaughter
Of his boyhood sweetheart. And 50
they were married.
Rollo was such an attractive person
hat after the curtain fell we couldn't
ear 70 give him up, so asked the
manager If we couldn't go backstagc
* gee what he was like face to
1ace. There were lot Of things we
wanted TO ask him, and We never got
a chance, because when you meet Mr.
Young you suddenly realize that he
-snt Roilo at all; he is a very dgnifed
person who refuses 10 talk about him 20
self Our favofitc critic, who isn't
lifting d hundred miles from here at
tne present writing, once told US wh IN
We interviewed any one to just drop in
mis- dressing room and casually ask
him the first question that entered our
head. lie did that, and that was how
we happened 10 get our first assign
snent. He went 70 interview very
strenuous and sinuous blond lady w4lo
vas doing Saionc dance. He burst
into ner dressing room, he said, and
put the question 10 tho lady, "Is vour
salofas more physieal than psychologt-
New-York tribune., 1920-12-12
How Daniel G.. Goodman
Came To Be Producer
OF Motion Pictures

Daniel Carson Goodman has just I'm
ish d "Thoughtless Women and has
started work on a new picture the
title OF which has not yet been an
nounced.
For many years. in fact, since p
Union Square housed D. ". Grifiths
first venture after leaving the Bio
graph, Goodman. writer, medical gradu-
ate, musician, has sl.irted in and out
of the motion pictures. After gradu'
ating from Washington University III
1905 he spent two years as house
surgeon OF hospital in st. Louis. he
then left for Europe. where tnree years
were spent in Heidelberg. Vienna ana
Paris.
In 1910. armed with additional d.
plomas from the University OF Vienna.
he orened his Offices in St. Louis and
".Nn N~NTNal recognition as an expert
diagnostician.
"Unclothed." Since that ;ime have
come Travail" "Hagar ReVe.ly' ana
The Taker" His "Hagar Reve iy
has been the most sensational. one
evening Mr. Goodman was enc Of the
speakers at Twilight Club dinner
Harry Aitken, then president Of tne
Mutual Film Corporation, approached
him and soon after an arrangement
was made whereby Mr. Griffith came
from the Biogranh and Mr.. Goodman
from the clinical room.
The Battle of the Sexes was the
first story from Mr.. Goodmans pen
VIII ch Mr.. Griffith directed. Soon after
came The Escape" In this picture
Mr.. Goodman created n prologue OF
protoplasms." as it was then called
Life in its earl est jelly state up TO the
vertebrate animals was dealt with. anu
W tn quite startling effect was por-
trayed on the screen.
Allow. th;r tirne My Goodman begar
to suspect that the cutting and titlins
o. a ..icture was of as nuch impor
tance as the writing and direct ng
Through all the following period, dur
ing his series of stories like Souls II
Bondage" down to the present me o
his own production, "Thoughtles'
Women in which Alma Rubens Il
starred, he has followed out this pia'
of production in an effort TO GREAT
! lifelike portraits on the screen.
New-York tribune., 1920-12-12

Back Of Mary Nash's brilliant per-
formance in "Thy Name Is Woman" at
the Playhouse is record Of unusual
achievement in the theater. And one
Of the most interesting things in con-
nection with Miss Nash's position in
the world Of the theater Is that her
ascent thereto has been one of steady
and altogether pleasant progression.
Hers is a record of almost continual
activity, with each new role represent
ing step forward.
Miss Nash comes from q theatrical
family. Her father the late Phil Nash,
was prominent official Of the United
Booking Offices. Her sister, Florence,
is one of the best known Of the younger
actresses on the American stage, and
is now appearing in "The Mirage" The
two sisters began their star careers
at almost the same time Mary as a
member of Ethel Barrymore's COM
pany in "Alice Sit by the Fire" at the
Empire Theater, and Florence in "The
Boys of Company b
Mary Nash's career has been virtu
ally a New York and London career
an unusual thing for an American
actress. She has been able to rise in
her profession without the arduous
weeks in stock and long years of
trouping that are the lot of most ac-
tresses. 1t was the late Charles Froh-
man who told her that there was some
thing better than career as an in
genuc ahead of her.
"Hc told me, for one thing" says
Miss Nash. chat my hair was too black
to play the fluffy ingenues that were
present in virtually all the Eng 4ish
plays that I did with Miss Barrymore
Also that my face was too strong He
told me that | ought to be a leading
woman, and | was fortunate enough to
be able to act on his advice at once
became the leading woman for An
drew Mack. Then Zelda Sears saw me
at q time when Clyde Fitch was look
ing for girl to play an important IN
The City She wrote to Mr.. Fitch
about me, and | went to see him on the
eve of his departure for Europe
trip from which he never returned.
He engaged me, and l made my first
real hit in the part at the Lyric Thea
ter.
Then came what I like to cal! my
shirtwaist roles in The Woman
which had long run at the Republic
Theater, and The Lure
MANY people have asked me if nv
sister and went on the stage because
my father wanted us TO- Ny father
never wanted us to do anything ex-
cept that which would make us hap
pest. We went on the stage because
New-York tribune., 1920-12-12

est in books she is q student of sociolo.
gy, believing that woman has incurred
with her acquisition of the vote the
obligation to fit herself for statesman
ship as salvation from politics.
Then there's Alison Bradshaw. tho.
young ingenue Of The Mirage" COM
pany. Miss Bradshaw is an Eng isb
girl who takes her profession verv
seriously She shields it with caro-
that would do credit to beautiful.
motherhood. Realizing that heath is
a vital necessity OF beauty, she gets up
brisk walk, her ultimate destination
being the library, where she spends
several hours daily studying the lives
and works of famous playwrghts and
actors. Little Miss Bradshaw has her
daily luncheon with her mother. who
is her constant companion. Every
Wednesday she attends a matinee.
since her own are on Thursday. choos-
ing only worth while plays which havs
capable players in their casts.
New-York tribune., 1920-12-12
By Harriette Underhill

When Roland Young says in "Rollo's
Wild Oat" that he is going to produce
his play in theater with steps run
ming down from the stage into the
audience so that any one may join in
the play when the spirit moves him, we
thought that was the reason he Sc
iected the Punch and Judy. In that
theater. of course. it isn't necessary to
have steps leading to the stage; any
one may leap from the audience across
the footlghts without necessarily be-
ing Douglas Fairbanks, and he might
even leap from the stage box onto the
scene of action. Only, Rollo changed
his mind and didn't call for assistance
from the spectators; and there we
were, all ready for the plunge. We
even had our entrance speech ready
1t was the what, play toward! IN
be an auditor: an actor. too. perhaps"
ore from "Midsummer Nights Dream"
The boxes in this theater hold only
New-York tribune., 1920-12-12
Simplicity Makes for
Beauty i'm Cosgutning,
Says 4. Ziegfeld Jr.

The days of eccentric and bizarre
costumes on the American stage are
over, according to Y. zicgfeld jr., pro
ducer of the "Follies" and "Midnight
Frolic." Mr.. Ziegfeld declares that
the new artistic note on the stage is
ultra-simplicity, and he has striven
10, this in his new musical comedy
"Sally," IN which Marlynn Miller
and Leon Errol are co-starred and
which opened at the Academy Of Music
in Baltimore recently. The piece will
be presented in New York later.
Costuming has been overdone to the
extent that it has b come tawdry and
in many instances vulgar, says Mr..
Zicgfeld.
ut seems to be the fashion," he
said, "to pile everything on a show
girl except the kitchen stove There
is a riot of color, embroidery, set
stones and in many instances Just
girl is supposed to parade around with,
perhaps, bare leg showing, and be
considered artistic.
Stage costuming has not improved
1t has become hideous and the sue
ccssful costuming of the future will
be that which is in simple elegance,
ol%nitied and pleasing to the eye.
"A glittering costume that fairly
dazzles the eye is not nearly so beau
tiful as charming, we'll made frock
with graceful lines and fitted with skill
to the wearer. This gives ample op-
portunity to reveal Che beauty Of
! figure, bring out all the beauty Of COM
pleXion and coiffure and at the same
time leave q lasting impression that is
pleasing.
GAS matter of fact, the artists who
designed many of the fanclful and
grotcsque costumes realized as well as
the producers that they were not ar
tlstic but were made merely for show
Critics declared that the Follies
struck an entirely new artiatic note
this year. There we're none of the
accepted costume formulas Instead
Of bare legs there was a fash of q
we'll turned ankle pceping from a sea
of lace.
Simplicity in costuming does no,
mean that the producer will have tc
spend less money. In fact, he will
have to spend more, for the simple
artistic costume is always the most
expensive creation. A pretty neck ant
PAIR OF shoulders are always beautiful
but even then there is no need to ex.
pose them wantonly without regare
for good taste.
"ln the new musical comedy Sally
Miss Millcrs costumes are simpl,
and so are the costumes Of the Other
members Of the company, but they ar.
also beautiful. The beautiful thing,
Of nature are always the simpl,
things, and so it is with the COSTUME
of the theater.
The accomplished and beautiful
performer will welcome the new sim
publicity in dress, FOR it gives adde,
distinction and charm to persoral;tv