davidaulloa/AmericanStories huggingface dataset:
Emmons County record. [volume] (Williamsport, D.T. [i.e. N.D.]) 1884-current, 1920-12-30

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Advertising copy should be in the
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Emmons County record. [volume] (Williamsport, D.T. [i.e. N.D.]) 1884-current, 1920-12-30
IN THE DISTRICT COURT OF THE
UNITED STATES
FOR THE DISTRICT OF NORTH
DAKOTA
Tn the Matter Of >
VIM. Weikum, '

In Rorkruptcv
To the creditors Of VIM. Weikum. Of
Hazelton. County Of 1Immons and Dis
trtct aforesaid. bankrupt:
Notice is hereby given that IN De-
cember 20. 1920. the said VIM. Weikum
was lily adjudicated bankrupt and
hat first meeting Of his creditors
will he held in the office OF II. T..
O'Hare. Referee Little Building. in
bismarck. n. D.. on January y. 1871,
at o'clock p. M. =. at which time the
creditors may attend. prove their
"lainos. appoint trustee, examine the
bankrupt and transact such other bust
ness as may properly come before suca
meeting.
"."d: Bismarck. n. d.. December
81, 1920.
H. F.. O'HARE,
desc Referee In Bankruptcy.
Emmons County record. [volume] (Williamsport, D.T. [i.e. N.D.]) 1884-current, 1920-12-30
The Pioneer Paper Of Emmons Count,
Established 1884

The Record is entered at the Linton
North Dakota, Postoff1ce as second
class matter:
Emmons County record. [volume] (Williamsport, D.T. [i.e. N.D.]) 1884-current, 1920-12-30

omcial County Newspaper
Emmons County record. [volume] (Williamsport, D.T. [i.e. N.D.]) 1884-current, 1920-12-30
F.. O'HARE

Referee In Bankruptcy.
Emmons County record. [volume] (Williamsport, D.T. [i.e. N.D.]) 1884-current, 1920-12-30
.EMMoAS COUNTY RECORD

F. b. sTREETER, Publisher
New-York tribune., 1920-04-25
AsWeWe ereSaying
By Haywood Broun

players Margalo Gilmore deserves the
o4iVe wreath. She gave an amazing
performance in "The Famous Mrs.
Fair" which seemed just as skilful in
Its finished technic as it was charm
ing in Its freshness. Frank McGlynn's
Lincoln in the Drinkwater play was one
of the outstanding performances of the
season, as was the work of Henry Her
bert in "The Faithfully In fact. the
Iheater Guild was unusually fortunate
in the high standard of its perform
ances. Margaret Wycherley and Dud-
ley Digges headed the best balanced
cast Of the season in "Jane Clegg."
Barney Bernard again showed that
he is perfect in the depletion of a GER
tain type. In fact, he is so altogether
admirable as Potash that we will never
be content until we find out whether
he can play some other part half so
well. That would be enough. Glenn
Hunter, Helen Hayes and Alfred Lunt,
of "Clarence," are all prospective ALL
America candidates, as is Gilda Varesi
but in "Night Lodging" as well. Rich
ard Bennett did the best work Of his
career in beyond the Horizon" and
Efle Shannon was gorgeous in
Mammals Affair" Another roliicking
performance was that Of Jobyna How
land In "The Gold Diggers." Peggy
Wood and Roland Young were delight
full in "Buddies," and among the hold
overs Frank Bacon continued his ad-
mirable performance in "Lightnin'. :"
Nor should any list Of the seasons per-
formances fail to mention John Drew
in "The Cat Bird" Brandon lyman in
"The Purple Mask" Blanche Bates in
"The Famous Mrs. Fair" Claude King
in "Declassee," O. P. Heggie in
"sophie," Laurette Taylor In "One
Night in Rome" and Jane Cowl In
"Smiln' Through"
Tho honors for musical comedy
should 60 to Tessa Kosta and Eleanor
Painter for their performances in
"Lassie" and "Florodora." Oh. and by
tho way, we did not intend to forget
that exceedingly skillful farceur Clifton
Crawford In "My Lady Friends" No
more Is it possible to make up any
adequate list of the public's creditors
without mention of Helen MacKellar,
who played two such widely difYerenti-
ated roles as the French Canadian girl
in "The Storm" and the nagging wife
in Beyond the Horizon" as If each
had been specially tailored for her. No
matter what Dr. John Roach Straton
may think, 1t seems to US that 1t was
darn good season and that New York
has a right to be proud Of its plays and
It's players.
New-York tribune., 1920-04-25

an actor with an infectious laugh, tn
sort Of laugh that comes as a Gift
or never at all, the laugh that starts
the audience laughing whether or no.
Shakespeare, as an actor. knew the
value of such infectious laughter; per
haps he even built the scene around a
definite actor. But witness the work
of tradition: the scene is played for
ever after with actors whose laughter
is at its best artificial. Their laughter
over the scene to come, with the false
notes that are in it, only lessons the
interest in the scene itself.
There is another tradition that has
been religiously followed: in certa n
scene IN one Of Shakespeare's plays
a speech aside is made by ono Of the
players to another at the other side
Of the stage. Because some Shake
spearian actor did it in this ridiculous
way, a tradition was born. Tradition
has made Juliet the goal of Shake
spearian actresses. Instead Of giving
Us youth and a beautiful girl as
Romeo and Juliet. we have to interpret
this most romantic Of plays an actor
OF theatrical bearing and great de-
clamatory powers and an actress whose
figure is far from youthful and whose
voice is theatrical.
"The cases that 1 have touched upon
will give you an idea Of what mean
when l say that I want to restore
Shakespeare, to give him to modern
American audiences as he gave himself
to Elizabcthan audiences. I am, of
course, aware Of the fact that l shall
soon be told Of the sanctity Of Shake
speare. But very few actors have given
and very few audiences have seen the
plays that Shakespeare wrote for his
generation.
whole scenes are omitted In the
usual productions of Shakespeare.
This comes from the fact that produc-
tions were longer in his day than they
are to-day; cutting has to be- done.
Continued on neat pogs
New-York tribune., 1920-04-25
II Come to Restore Shakespeare,
Not to Attempt to Rewrite Him."
Says Edith Ellis, Playwright

~ DITH ELLIS, the author Of moro
" than thirty plays, who was recent
ly quoted as wishing to "rewrite'
Shakespeare for the modern stage,
objected vigorously, when seen by a
Tribune reporter, to the use of the
word "rewrite."
II wish you would put me right"
she pleaded "To say that am to re
write Shakespeare sounds as If I
were patroniz!ng him. What l want
to do Is to restore Shakespeare, to
bring him TO the stage to-day as the
intensely vital man that he was in
his own day. I want to free him
from the weight Of the Shakespearian
traditions that have made him at once
classic and ching to be Stunned
by the general public; to bring him
back as 3 dramatist, a poet, philoso-
pher, rather than as a sacred being
to be commented upon only by college
professors and academic persons.
"Let me illustrate what I hope to
do with certain Of Shakespeare's plays
by telling you Of a little experience
with play by Moliere, another
dramatist almost suffocated by tradi-
ton. Two years ago I produced in a
small Chicago theater my own version
Of The Imaginary Invalid under the
title of The Man Who Would Be
Sick 1t was a version reached by
eliminating much Of the padding, and
in advance Of its production 1 had been
warned by certain admirers of Moliere
that it would never succeed. But these
same people, these people who knew
their Moliere we'll, came to me after
the performance and admitted that
they had not noticed the omissions.
"When the production Of Shake
sperian drama is approached there is,
first Of all, the stage traditions built
up by generations Of Shakespea rian
actors. Take the laughing scene in
Twelfth Night as an example Of the
influence Of tradition. Very possibly
there was in Shakespeare's own day
New-York tribune., 1920-04-25
J9cm gbeatrttal Dffertmqs Of the aveeb

MONDAYAt the Eltnge Theate will
Unique" Of the
author of "Mis' Nelly of NOeans" The feature roles
played by Josephine Victor
Arthur ioh, Mad Coleman,
Helen Blair Fleming Ward Ma
At the Shubert Thater II and Julia
begin their four weeks Shak festival Twelfth
will be presented during Hamlet" Tanning
OF the Shew during the "Th Tanning
during the third week Tho will be devoted
tons Of the plays with Night"
nights and at the Hamlet"
Saturday nights and The Of the shrew Wednesday
Friday nights Mr. sohen Miss Marlowe will appear
New York City again the fall Of 1921
New-York tribune., 1920-04-25
Being a Good Listener
Rare but Valued Asset
In Actors Makeup Box

Fred L. Tiden, who plays the role of
Captain Carser. the blackmailer, in
"The Wonderful Thing" at the Play
house, has been the recipient of so
much applause-which is unusual when
one considers that he is playing the So
called "heavy," role in which the gal
lery gods in days gone by were wont
to treat with Kisses, that the question
naturally suggests itself-why?
Mr.. Tiden explains it.
First" he says, Il hope I won't be
accused Of egotism when 7 drop into
the personal pronoun, but to answer
your query I must OF necessity use the
first person. Second, I hope no one
will say, after reading this, that know
1t all, for one Of the secrets OF being
successful, if I am successful, is not to
know 1t all, but to listen and think.
This applies especially to acting The
finest compliment I ever had paid to
me was Nat Goodwin's friendliness,
solicitude and his work to make an
actor of me. If am in any small man
ner living up to Goodwin's standard Of
acting I am particularly hopeful that
may some day win success. Goodwin
said, in introducing me to some friends,
while I was playing in Upstairs and
Down: This is one of my boys, and
of whom I am proud. He knows how
to stand still and listenv Perhaps at
that time I was only about half con-
scous Of just what he meant, but since
that time I have realized just what he
meant and how extremely difficult it is
for player to stand still and listen.
"Some call this repose. 1t is repose
and something more. 1t Is being inter-
ested in the scene, in the play and in
the players. The first axiom Of acting
Is to listen to what others on the stage
say and attempt to simulate the fact
that the person addressed is actually
listening and digesting what has been
said. If the embryo actor will follow
this rule he can't help but be convinc-
ing, for, if he digests what has been
said, his reply can't help but be human,
and, being human, his audience will
absorb the answer more readily. This
factor, to my mind, carries more weight
than the sheer force Of an actors per-
sonality.
"There are many other methods, per-
haps. One is that the actor must be
absolutely Ell rapport with the play,
know the authors reasons for the why
and every line-the thought back of
lines-not only his own lines, but the
lines Of every other character. Next,
it must be an undertaking rule that the
actors performance must be the same,
but he must ever strive to perfect every
voice infection, gesture and facial ex-
preston. Until he has learned this he
will be among the actors Of mediocrity.
The opinions Of individuals, be they
ever so learned Of the theater, cannot
be accepted as tho final word Of your
work"
New-York tribune., 1920-04-25
Young Klaw Tries Plays
On Himself as Typical
Example of the Public

Joseph Klaw, who only recently mado
his debut as an independent producer
with MRS. Jimmie Thompson" at the
Princess Theater, is so young a man
that much of his theatrical credo may
fairly be taken as the theatrical credo
of his own generation, the next gen.
Grafton in the history Of the American
theater.
In general Mr.. Klaw believes that
artistic and commercial success go
hand in hand; quite inevitably it fol-
lows that he is willing to produce any
thing from farce comedy to stark trag-
edy that possesses entertainment value.
"My standard Of production" he said,
"will be tho standard that the thea.cr-
going public demands Of me. The great
drama Of the past has been drama that
was popular when 1t was written.
believe in the judgment Of the average
citizen, and it Is to him that I shall ap-
peal in my productions. There will be
, no pandering to a minority taste for
the drama Of decadence, with an er-
ratio or an erotic appeal, nor to the
minority taste for whitewashed drama
Of tho 'orphant cheeild' or the hero
with an appetite for pink lemonade
"The drama should be a reflection of
its own time; 1t should deal with the
questions Of its own day. A few days
ago an order went out to one Of tho
biggest circuits in the country pro-
hibiting jests at the expense of woman
suffrage or prohibition. 1t is an ex-
ample Of the way in which the passage
Of time changes the tastes Of the pub
lie. Those two subjects, that we're the
cause Of much laughter in the old days,
If treated in the same way now might
offend or anger many patrons. So that
production.
II shall produce straight drama, COM
edies and tragedies, but because Of
certain feeling of temperamental unfit
ness no musical comedies. Naturally,
I shall look to American authors for
my plays, for we are here in America
and want to hear American voices. But
anything In English or Continental
drama that finds an answer In the
American heart will be as welcome"
In reading play Mr.. Klaw follows
course which may we'll be described as
individual. He goes at the new play
with the point of view OF man who
has paid SO and tho war tax for seat
we'll down front, and visualizes the
actors and the action Of the play as he
reads. If he can laugh or if his atten-
tion Is held by tin other words, IL
his reactions are those of the average
playgocr-he is satisfied with the first
act. Quite like the normal theater-
goer, he takes his iutermission between
the acts; IL his interest Is held by tho
rest Of tho play, then he takes the re-
cciver from Its hook and tho play
wright is asked to drop in to sec Mr..
Klaw.
New-York tribune., 1920-04-25

announced tnat tney Woul0 re-
enter the theatrical field as
producing managers this summer,
have selected site near Broad
way, on Forty ninth Street, and will
erect there a theater with a seating
capacity Of LOO, to be called the Ma
tional Theater. Mr.. Kemper, who de-
signed the interior of the Astor Thea
ter when that playhouse was built by
Wagenhals & Kemper, is designing the
interior of the new theater; the arohi-
tect's plans are being drawn and the
construction Of the theater is to pro-
ceed as rapidly as conditions in the
building trades will permit.
1t is probable, although at this date
nothing can be said definitely, that
the National Theater will be ready for
its opening production in the late fall
of 1920 or the early spring of 1921.
When this theater opens there will
simultaneously come into existence a
stock company which both members
of the producing firm believe will be
unique in the American theater.
''In the first place." said Mr.. Wagon
halls, in speaking Of the company that
will play at the National Theater, I'VE
shall bring to Broadway what we be-
ileve IS vital factor in production
stock company along the lines Of tho
Lyceum stock company Of the early
'90's. It will be q cooperative stock
company, with thirteen members; the
actors, so to speak, will hold stock In
the corporation. We are going to
guarantee them a certain sum to meet
their living expenses, and they will, in
addition, share in the profits of all
plays in which they appear. This
Will remedy an injustice that has fre-
quently been done to members Of tho
profession; if, for example, the five
original members Of the cast Of Paid
in Fulp had received royalties on all
the performances Of that play they
would all be Independently rich to-
day. According to our plan, the mem
bers Of the stock company will not
only receive their proportional share
OF the profits from q production in
which they appear personally, but they
VIII also receive royalties on subse-
quent productions of the same play
by road companies, or in other coun-
tries. Our receipts from Seven
Days. play that is nine years old,
we're we'll up in FIVE figures last year;
royalties from such sources would be
very acceptable to the members Of
the original cast who had helped to
bring the original success to the play"
Verbal contracts have already been
made by Wagenhals & kemper with
four actors, all Of whom are enthrsi-
astic over the prospect of the CO.
operative company. Four prominent
playwrights, whose names can not be
made known at present. have also
agreed to give Wagenhals & Kemper
the first option on their dramatic out
put. The National Theater will IN the
main be conducted in accordance with
the policies OF Wagenhals & Kemper
previous to 1914, when this firm made
their last production. It will be
repertory theater in the sense that new
productions will go on frequently, but
it will be the home Of nearly all the
productions of the firm, and the sue
cess of each production will govern its
run.
In the mean time Wagenha!s &
Kemper will resume production with
"The Bat q mystery play by Mary
Roberts Rinehart and Avery Hopvood.
New-York tribune., 1920-04-25

~
~ New York. In these days it is
difficult to determine when q
season ends and another begins, what
with spring try-outs and summer open-
'ngs and one thing and another. Ac-
eording to our opinion, this is the
best year the American theater has
mad IN many = long day. We have
seen excellent plays from Italy, from
France, from Spain and Russia, and vet
the native drama has fourished as
never before.
Naturally. our own playwrights will
40 their best when the competition with
drama from abroad is free and open. Now
and again we hear pleas made for some
policy such as an unwritten protective
tariff to develop the infant industry
OF American playwriting, but as a mat
tsr OF fact our dramatists need no such
eoddling and want none. The day in
which managers got ell their light COM
sdies from England and all their
fasces from France, with an occasional i
nsavy drama for good measure from
Norway, IL done. Importations from
England In particular have dwindled.
This season ws had John Drinkwater's s
Lincoln" and Masefield's lne verse
Play, "Ths Faithful" Ervine. who
wrote "Jans Clegg," Is an Irishman,
snd we do not know whether or not he
wants his play set down to the credit
Of the empire.
Personally, we had a little moro fun
." Clarence" than any play which we
saw this year. To be sure, It Is Of
slight texture, and yet 1t seemed to US
very distinguished work Of it's kind.
IL served to show that one American,
A. any rate, had mastered the rather
dificuls trick Of writing ligh. comedy.
As matter OF fact, as the season went
on there were other notable achieve
menta in the same field. We remem-
Der with particular pleasure Rachel
Barton Buffers "Mamma's Affair" and
Inc Famous Mrs. Fair" by James
Forbes.
In more serious vein ne thought that
Sena7eEte's "The Passion Flower" the
pest Of the seasons tragedies, though
Beyond the Horizon" by Eugene
VNeili. was q striking and interesting
piece OF work. ONeill has not yet
como TO the top Of tho hill. He OBJ
serves life better than he interprets
~ and the episode quality Of the one
act craftsman is still sometimes no.
sieesble In his work.
another notable play by an American
sa'hor was "Dkciassee," by Zoo Akins.
1his ~ a much more theatrical piece
,aan o'Neiil's play. and scarcely as
assp rooted In human experience, but
II mas sloquencs In its own right and it
served 20 give Miss Ethel Barrymore
Sas hness opportunity for her talents
"nien has come her way in a-Eood
many seasons.
The best performance Of the season,
~ think, was tina. Of John Barrymore
Richard ILL.," In fact. anybody vino
S'exs an All-AmericA Of the seasons
p'sSsrs can hardly fail TO make room
'Sr three Barrymores. We were not
esfsaeulsYly impressed by the work Of
aa99s1 In "Ths Letter Of the Law" but
e me, full, swaggerin4 portrayal Of
M IN "Ths Jest" was among the
- 4siightsul things which the the
~ 70 offer. Among tbs younger
New-York tribune., 1920-04-25
Lubovska Dances Tonight

Luboyska, the American interprera-
tive dancer, will appear this evening
ut the Greenwich Village Theater in
new program Of dances. This will be
her farewell American appearance be-
fore her departure fer Europe. She
will be assisted by Ruth. Albert and
Jean Fifcr. and an orchestra under
Oscar Lfshcy.
New-York tribune., 1920-04-25

which will be presented out Of town in
June and will be seen in New York
some time in August In tho same
month they will present what Mr.. wae-
enhals predicts will be hailed as
dramatic novelty. or this production
little can be said yet, but at the proper
time In the near future Wagenhals 4
Kempcr will give the details conce~n-
ing the production. which both mem
bcrs of the firm believe will score \
dramatic triumph. The decision to
undertake the production was made in
Europe, where Mr. Wagenhals has
spent greater part Of the time since
1914, and was Influenced to no little
extent by the approval that had been
given the production in question by
Continental critics. In addition 10
these two productions mentioned, War-
-enhals & Kemper have several mora
plays in hand for production, including
THE Sun Dial" by William Douglas
Wright, and a farce by Margaret
Mayo.
The cooperative stock company thar
will play At the National Tbeater will
perhaps owe its existence to the fact
that both Lincoln Wagenhals and Col
lin Kemper were memb4r Of stock
companies before they Joined forces a.
producers twenty-four years ago
Wagenhals, Of the Lyceum stock COM
pany, and Kemper, Of Augustin paly's
company.
"kemper and myself were both young
actors in stock" related MI wagen-
halls. Both Of US were making about
go week, and both Of US were eager
TO ge. out for ourselves, when we nap
pened to meet. We decided, some time
in 1896, to start for ourselves. and
when Kemper next went homo he told
his father, a doctor, that he was going
to start producing with a man by the
name of Wagenhals. It came out then
and there that Kemper's father and my
father, who was also . doctor, had been
| roommates at Johns Hopkins mora
than thirty years before that, AZ MEM
bers of the first class In that medical
school. We became the pioneers In
sumner stock, and spent our first sum-
mer near Binghamton, managing to
break even. Louis James was starred in
our first company. and we soon went on
the road, making one-night stands in
the Southern States. was getting tired
travelling and living on the $35 week
took from the company each week,
and one hot day noticed several
posters carrying the names IF Fred
erick Warde and Mile Rhea. I was
seized with an idea, and Immediately
sent kilograms to both. asking the
lowest figure for which they would
join our company. Answers from both
came to US at New Orleans, and,
though we didn't know just where the
money was coming from, we accepted
their terms and started East to plan
Shakespearian production with these
three stars. Mile. Rhea died in the
mean time. and Kathryn Kidder took
her place in our country"
From 1897 until 1903 Wagenhals 4
Kemper continued producing outside
Of New York, and in the last named
year they presented Blanche Walsh in
Resurrection" at the Victoria Theater
as their first New York production.
There followed eleven years Of suc-
cess brought to q pause in 1914. when
both members retired, only to resume
this year with ambitious plans that
may go to make unique chapter in
the history Of the American theater.
New-York tribune., 1920-04-25
Tonight at the Neighborhood

Tonight at the Ncighborhood Play
house the School OF Drama from tho
Carnegie Institute will gtve special
performance of Ibsen's "John Gabriel
Eorkman," under the direction OF
Thomas Wood Stevens.
New-York tribune., 1920-04-25
Wagenhals & Kemper
To Build National Stock
Theater in New York Citv

~ INCOLN A. WAGENHALS and
Collin Kemper, who recently
announced that they would re-
enter the theatrical field as
New-York tribune., 1920-04-25

Continued on 7,e1t puge