davidaulloa/AmericanStories huggingface dataset:
Burlington weekly free press. [volume] (Burlington, Vt.) 1866-1928, 1920-10-21
SOUTH STARKSBORO

Darwin Wright. son of John Wright.
and Greta Russell daughter of Michael
Russell, were married in Bristol at the
Baptist parsonage by the Rev. Mr.. Fow-
Ter the 11th.--The Ladies' Home Circle
will meet the 18th with Mrs. Edwin Or
vis.--William Hallock was in Waterbury
Sunday.-Dr. DE Witt c. Green. who has
been visiting his cousins, Mrs. David
Follansbee and Robert Young, has gone
to Charlottesville Rev. Edwin Meader
of Burlington preached at the Friends
Church Sunday. He is ealing on old
friends.-Philip Hallock had the mis-
fortune to have his right hand caught
in saw in Waterbury necesstating the
removal of one finger and the taking Of
nine stitches.-Edwin Orvs was in Mid
dlebury Monday to attend a Masonic
meeting. He was accompanied by his
daughter, Miss Helen.-L1ayton Stokes
lost his four months old child Sunday.
Burlington weekly free press. [volume] (Burlington, Vt.) 1866-1928, 1920-10-21
EAST SHELBURNE

The Lend-a-Hand Circle of the Kings
Daughters will have harvest supper
Friday evening. October % at b. /,
Newton's on Spear street.
Burlington weekly free press. [volume] (Burlington, Vt.) 1866-1928, 1920-10-21
WALTHAM

The n. S. club met with Mrs. A. @.
Wright last week Thursday. Delicious
Burlington weekly free press. [volume] (Burlington, Vt.) 1866-1928, 1920-10-21
One Cent
a Word

Advertising in this column
one cent a word each in
sertion. Copy may be
changed every week. Cash
in advance required. No
advertisement taken which
is less than IL words. two
lines. Special terms to ad-
vertisers using from $50 to
1000 lines within IL con-
secutive months.
New-York tribune., 1920-09-12
''Viflain Specialist''
Is Fred L. Tilderl, Who
Acts i'm 'SThe Bad Man,

Fred L. Tiden, who plays Morgan
Pell, the villain in William Harris IRIS
production of "The Bad Man." at the
Comedy Theater, is no amateur villain,
For nearly his whole career on the
stage since he began work with Beer.
bohm Tree in "King John" he has
studied that type Of role.
My Characterization of Morgan Pei
in The Bad Man," said Mr.. Tiden. "is
based upon twenty-five years of study
Of such roles, which were once called
the gentleman heavy Early in nv
career l realized that the so-called
'viliain,' who was Kissed OFF the stage
when trying to take his curtain cal,
could be appreciated as an artist as
wen as the hero, and directed any
that end"
Included in the list of plays in which
the william specialist" has anneared e,1
are Second is Command" with Cyr;l
Msuds; with Nat Goodwin in "When
We Were Twenty-one," which brought
him to America; in Constant George. y
with John Drew; 1.-THE Morals Of Mar
GUS" with Marie Doro; Joseph En-
tangled" with Henry Miller; a revival
Of "The Little Minister" with Maude
Adams, and more recently "Piccadilly
JIM" with Stuart Walker; the Broad.
hurst production Of "The Wonderful
Thing and Respect for Riches"
"ln Porter Emerson Brownies play
bavs tried to reveal more poignantly
ban before how certain hkable quail.
tiles Of bed character show off his
evil traits TO greater advantage whom
those are brought suddenly and unex-
psetediy into play"
New-York tribune., 1920-09-12
By EIarriette Underhill

"And aren't you ever inclined to get
back at them ?" / asked of Ernest Glen
dinning as | sat down on the other
chair in his dressing room at the Ply
mouth at the close of the opening of
Little Old New York" We had been
speaking of critics and the funny things
they said, sometimes.
swell, yes; l did answer one of
them juar c1ce.'' and then Mr.. Glen
dinning told me about it, and it's so
clever that insist on putting it in the
interview, although Of course it has no
place in an interview. They shoIld tell
whether an actor prefers the stage to
the screen, whether he was born in
America, how old he is, if he started in
stock, what his favorite role is, and
what his ambition is. Later, just before
] left, and after l had talked to Mr..
Glendinning for more than an hour,
and him dying to get his makeup off all
the time and wishing that / would 60,
but concealing the fact beautifully
later I did ask him all of those ques-
tions and have the answers all ready,
but first 1 insist on telling how Mr..
Glendinning's soft answer did not turn
away wrath. 1t was a letter which he
wrote, but which was never printed. He
should have written it to my favorite
it, but then l should not have had the
chance to do so.
The criticism was one written Of
Experience" and the critic said chat
he had found Ernest Glendinning not
quite as disagreeable as he had ex-
pected, but that Mary Blank had given
a marvellous performance, adding when
this young woman first appeared, q
decade ago, we predicted brilliant
future for herr So far as we know
she has not appeared since" So Mr..
Glendinning wrote and said: "Please,
never say l am good. cannot afford
to be idle so long, Which think was
delightful; but then, Mr.. Glendenning
is delightful, anyway.
One reason l stayed so slong was to
sec if he wouldn't in some way spoil
the impression he had made at the be-
ginning. l didn't for moment think
he could keep it up, but he did. AS
soon as Mr.. Glendinning steps off the
stage he stops acting, and if you knew
as much about actors as do you would
know how rare this is. Better not
New-York tribune., 1920-09-12
Grooming a Play for Rum
On Broadway; Broadhurst
Explains How 1t Is Done

The artist adds a touch of>brown or
gray to his sunset and his work is
complete. Without that touch his sun
set might have been a midsummer
high noon or evening over the meadow.
Just so with the business of placing
the final "twist" to the play. Too few
know the tedious task of putting the
punch" into q production that later is
to hold its place on Broadway. And
SO. coming from George Broadhurst,
producer of "Come Seven!n the play
of negro life from stories by Octavus
Roy Cohen, now appearing at the
ings of a production of this size before
it is a finished product are interesting.
1--WE had realized" Mr. Brosdhurst
says, "from the outset that we must
make theatergoers understand before
they entered the playhouse that, al
though our characters were negroes,
the players were white. To bring this
out we engaged widely known actors
to take the leading parts. We be-
lieved the people would recognize their
names if not their faces.
I'm Long Branch, our first tryout,
to our amazement, in spite of our
preliminary advertising and the wide
publicity given Mr.. Cohen's stories, the
vi lHc udQ llO luSd
of the kind of play it was going to
see. AS one by one the characters ap-
peared on the stage the majority of
the audience was in turn surprised,
puzzled, resentful.
Moreover, when the final curtain
fell, many Of the audience left the
theater thinking, as their comments
plainly showed, that they had seen a
comedy presented by negro players.
"Incredible as this seemed to us. we
had to recognize it as fact, and to
offset this we had the players remove
their wigs at the end Of the second
performance.
"Everythng was criticized, from 'the
cheap cast to the 'old scenery and
the opinion was fully given that if the
play ever reached New York. we GER
tainly should have to get new set, as
the one we had was too shabby and
too old. One theatergoer filled the
lobby with loud lamentations because
there wasn't even one song in the
play.
Zone thing was certain, SO far as
Long Branch was concerned, Come
Seven!' was dcspised and rejected
"Our second stop was Asbury Park.
New-York tribune., 1920-09-12

but in a theatrical sense. Let the
name Of Blanche Bates, Ethel Barry
more, Gilda Varesi, Jack Barrymore or
any Of the stellar tights of the stage
be mentioned in her presence and she
becomes study in inquisitiveness
How do they handle such and such
a situation ?" How do they dress for
vate lfe?" and score of other ques-
tions are hurled with machine gun
rapidity.
Marie Carroll was in her dressing
room several evenings ago, waiting for
her cue and preparing for an interview.
She had been told to prepare clever
things to say to the newspaper-repre-
sentative, and was hard at work. But
when the interviewer arrived she cast
away the plans she had made and went
off on different tack. Instead of being
the interviewed she would be the i'm
terviewer. And it may be said that she
succeeded admirably If any producer
is casting play which requires
woman reporter he would do we'll to
enlist the expert services of Marie Car
roll, erstwhile ingenue.
She persisted in her quest for in
formation about the stage and its peo-
pie.
"Although I have been on the stage
for five years, l know so little about
many of the people in the profession
that l welcome every opportunity to
learn about them"
When she had completed her ques-
tioning she ventured a few opinions.
"When | first came to New York my
friends went about with me constantly.
Really, there was no need for it, and
now ! believe can get around very
we'll myself. New. York at night is the
safest city know of for a girl. Many
times, after dress rehearsals, I have
gone home alone at 9 and o'clock in
the morning, and no man ever spoke to
me. But Boston, Philadelphia and
other cities-well"-
Miss Carroll is still trying to make
up her mind whether it is natural for
girl to fall in love with man and then
tell him how much she loves him and
that she cannot get along without him.
That is what she does as Elise Bene-
dotti in "phe Charm School"
'But think women know better how
to write Of girls and their emotions
than men do. Perhaps I do act natu-
rally in The Charm School, But
haven't made up my mind yet"
New-York tribune., 1920-09-12

the theater had no idea what kind 80
play was being presented there. ona
comment, however, was a seed dronnea
in fruitful soil. Up to that perforra
ance we had followed Mr.. Cohen's stor,,
faithfully, even to its end. AS in az
story, Mrs. Nesbit had taken ali AZ
money from Urias and Florian, and ~
the end Of the play they were left in
the position they were when it openad
That is, they again were 'broke.'
"One young man on leaving tbe the.
ater said: Il don't see what right
that woman had to take all that moSaw
from those two fellows. They bss
earned it, and / don't think Il was
fair
"Then and there we knew why. even
at Asbury Park, where the play had
been a success, the audience left, the
theater with sense of disappointmNnt
They had grown to like 'Rias and Flo.
rian, and they resented the fact that
they were left without a cent to show
for their scheming and trouble. Next
night we had new ending-the one
that is now being used in New York.
after Atlantic City we came back
to New York for ten days, and then
set sail for Far Rockaway for three
performances preliminary TO our final
return. In the mean time everything
that possibly could be done, including
special notices in front of the theater
and in the lobby, special cards put in
each ticket envelope and extra an
nouncements in the papers, was done
to apprise the theatergoers of the ma.
ture of the entertainment they were
going to see.
"Our business hitherto had not
amounted to what is designated in the
theater as important money At Far
Rockaway, however, the playhouse was
packed, and right from the keynote
speech the comedy went over with a
bang,>and its reception was most en-
thusiastic and encouraging.
"There was one woman, however, an
overfowing and billowy person, dressed
as though for grand opera, who had as
her immediate neighbors her husband
and myself.
"The more her husband laughed the
more grimly her mouth was set and the
more rapidly her diamond necklace
un6ulated.
FINALLY, she turned to her husband
and the following dialogue ensued:
"'What are you laughing at??'
New-York tribune., 1920-09-12
g Interesting Chat and Stage Gossip for Paygoers 9
Original Screen ideas
Yield to Adaptations
From Stage Successes

Where are the original scenarios of
a recent past? Time was when a pho
todrama was made from a specially
constructed fictional idea, but eminent
authors and playwrights have carried
off the market.
At all Of Broadway's five first class
motion picture theaters last week the
photoplays were made from stage sue
cesses. Four Of the screen dramas were
originally played on the Broadway
stages and one was striking produc-
tion in Paris and London.
At the Rialto last week ''The Round
Up" Edmund Days Western life melo-
drama, lived again. Tom Forman, who
plays the role of hero in the picture,
wrote the scenario. Roscoe ("Fatty")
Arbucle has the star role, that Of
"Slim"s Hoover, sheriff, played on the
stage by Maclyn Arbuckle back in
1907.
At the Rivoli Thomas Meighan was
the screen star in "Civilian Clothes.
made into a photoplay by Clara Be-
ranger from the postwar play by
Thomas Buchanan. "Civilan Clothes"
was played at the Morosco Theater 6ast
season.
At the Criterion "The Right to
Love" was in its third week. 1t was
adapted by Ouida Bergere from "The
Man Who Killed." the play by Pierre
Frondaie and Claude Farrere. The
play was success in Paris and was
translated by Gilbert Cannan and
Francis Kayser and presented at His
Majesty's Theater in London in 1915.
At the Capitol last week "Milestones"
was the feature attraction. Louis Sher-
win adapted it for the screen from the
stage success by Edward Knoblock
and Arnold Bennett. "Milestones" was
played on Forty-second Street about
eight years ago.
Oliver D. Bailey's Branded" made
into photoplay and called "The Brand
ed Woman" was the stellar screen at
traction at the Strand.
And this weeks Broadway photoplay
programs have one original script, that
of "The Village Sleuth," in which
Charles Ray appears at the Rivoli The
ater. Agnes Christine Johnston is the
author of the scenario, which is to give
young Ray an opportunity to play the
role of country boy detective.
At the Rialto this week the spoken
stage will be shadowed heavily when
Constance Binney appears in "39 East"
Miss Binney played the leading femi-
nine role in the stage play in the last
two seasons, and plays the same role
in the version made for the screen by
Kathryne Stuart.
At the Criterion it is "The Restless
Sex" made from Robert w. Chambers's
story.
New-York tribune., 1920-09-12
Mile. Marguerite Sings
And Dances Her Way Into
High Favor of Broadway

A little Spanish girl with large
brown eyes came out on the stage Of
the Casino Theater last Monday night
at the opening performance of Efrem
Zimbalist's musical comedy, "Honey-
dew She sang a gay little song in
Spanish. her expressive eyes and elo-
quent shoulders furnishing polyln-
gual translation. Then she danced.
Fifteen minutes later she was still
being called back for another encore.
The little Spanish girl had been infor-
mally adopted into the much sought
ranks of those whom Broadway has
selected as it's favorite sons and daugh-
ters, "Broadway," meaning, of course,
the theatergoers thereon.
On the program she was mentioned
as Mile. Marguerite. A few in the au-
6.ence recalled having seen her with
her brother, Frank Gill, in vaudeville.
But never had she had the opportunity
to capture the hearts Of lovers of mu-
sieal comedy. She did it completely
Mile. Marguerite was born in Paris,
Of French Spanish parentage. Frank
Gill. her dancing partner. is her brother
and was born in Madrid, the family
home. Brother and sister began their
dancing careers in the French capital
at the Cafe de Paris at the time the
Castles were establishing their repu-
tation there. Subsequently they ap-
peared in London music halls. and
after tour Of the Continent went to
Australia, the Arst to bring the tango
and other Latin measures to the an
tipodes: America was reached via
Honolulu.
While ON the Western coast Mile.
Marguerite sDpeared for time In lead
Ing roles In pictures. Last winter the
pair reached Broadway via the Palace.
Last Monday they came into their own.
New-York tribune., 1920-09-12

To the long list of new authors
whom David Belasco has introduced to
the public another name has been
added in the person of Jean Archibald.
whose first comedy, Call the Doctor"
has scored such Il striking success at
the Empire Theater, where it has be-
gun what promises to be long and
successful engagement.
Even more than the usual interest
which always attaches itself to a new
playwright has been aroused by Miss
Archibald, owing to the unique idea
which she has utilized in her comedy
that of doctor of domestic difficult
ties who makes profession of bring
ing together husbands and wives who
are tiring of each other-and long be-
fore the final curtain fell on the open
ing night many were the inquiries as
to her identity.
From little town named Pictou, IN
Nova Scotia, to Broadway was the trail
traversed by Miss Archibald, but de-
spite that distance the journey was
made the longer by the fact that her
route did not lead direct, but took
West, back again to Halifax, and
finally to the coveted street where her
play is being presented.
1T was three years ago that Miss
Archibald came to New York with the
idea of securing an engagement here.
Shortly after her arrival she was
thrown in with several literary peo-
pie, who suggested that she write a
play. The idea had never before oc-
Cured to Miss Archibald, but it met
with her instant favor and she decided
to carry it into effect.
Miss Archibald went home resolved
to start work as soon as she could get
good idea. Some time afterward
that of the doctor of domestic difficult
ties occurred to her. Just what gave
her this idea she declares she capnot
remember, but once having it she
started to work Immediately. Two
months later the play was finished. Ten
days after the play was written it was
accepted by Mr.. Belasco and the con-
tract signed.
Then began the long period of wait
ing, as Mr.. Belasco could not give the
play an immediate production. About
this time he was presenting "Polly
With Past" at his own theater, and to
have something to occupy her time, as
she expresses it, Miss Archibald be-
came understudy for several of the
leading feminine roles in that comedy.
Although the play ran at the Belasco
New-York tribune., 1920-09-12
Frances Carson and Frank Conrov
A more complete reversal of form
never was seen

A more complete reversal of form
| never was seen.
almost from the first minute of the
opening act laughter was incessant and
applause was frequent. Lines which in
Long Branch were unsuccessful in
Asbury Park were greeted with shouts
OF laughter and at the close of the
second act there could be no denying
that so far a s Asbury Park was con-
cerned Come Seven was a success.
The enthusiasm continued almost to
the last minute of the play and then,
1cr some reason unaccountable to US,
it ceased d and the curtain fell with
practically no applause. A similar re-
eeptlon was accorded the play at all
tour performances and we we're puzzled
and worried because of the coolness
shown when the curtain fell.
The following week Come Seven
played Atlantic City and the frieiditv
OF its reception there made the cool
ness at Long Branch look like a hot
spell in July. Lines which died in
Long Branch did worse in Atlantic Citv
anc the first act was received in
silence.
Between the first and second acts
Two men wen. to the boxofice and de-
manded their money back, on the
ground tina. they did not know thew
were gong to see a piece played by
lot Of negroes I took them aside
and asked them how they happened to
DC at the theater that night They said
they were walking past, saw the sign
and just dropped in. 81
Had they read Mr.. Cohen,s
stories" They had not.
= Had they ever heard of Miss Kane
Miss La Verne, Mr.. Aylesworth or nv
Foxe' They had not. "A'
HAD they any idea what they were
There was the yont ntu 81 no tho
trouble. The theater was filled w;th
visitors who had not read our adyer-
tisements, and when they went into
New-York tribune., 1920-09-12
Stage Experience Proves
Aid to Jean Archibald i'm
Writing Belasco Success

Theater the whole season Miss Archi-
bald never was called upon to assume
any part. The season before last, when
she was 'understudy for Mr.. Belasco's S
production of "Daddies," at the Ly-
ceum Theater, she substituted several
times in the character of Babette, the
sister of the leading member of the
Bachelors Club, and also assumed the
role of the mother Of the French war
orphan.
Since the opening OF Ina Claire in
"The Gold Diggers," at the Lyccum
Theater, nearly year ago, Miss Archi-
leading roles. of that comedy, and on
several occasions has substituted for
Larrine Lally and Gladys Feldman
when they were out Of the cast for a
few performances owing to illness.
Several of the instances in "CalL the
Doctor" were suggested by personal cx-
periences of Miss Archibald's. The sit
uation where the doctor breaks her
string of pearls in order to cover her
confusion really happened to Miss
Archibald in somewhat similar stua-
tion, and the incident where the law
yer induces the doctor to remain by
the tossing of a coin, with the remark,
Heads you don't go, tails you stay"
occurred at house party which Miss
Archibald was attending a few years
ago.
1t is needless to say that the re-
ception accorded Call the Doctor"
has made Miss Archibald very happy.
She has only one regret, and that is
that the production leaves her with
nothing to do, for she AYERS that work
ing on the play with Mr.. Belasco was
the most enjoyable experience she ever
had
New-York tribune., 1920-09-12
New Faces ON the Stage
From Homes of Famous
Parents; The Debutantes

A pretty little bobbed haired girl sings
and dances in Little Miss Charity"
She is one Of the bright sub-debs of
the ensemble, and except to those who
have been struck by remarkable re-
semblance to a certain we'll known
might not be identified, even though
her name appears as Beth Meakins.
But Beth Meakins is the fifteen-year-
old daughter of Charles Meakins, who
had prominent part in THE Merry
Widow" a decade ago, and of Edith
Bradford, who was one Of the featured
members Of the original "Choco-
late Soldier" cast. And the debut Of
little Miss Meakins brings the number
of new faces to the stage from the
homes of famous parents to a score,
which is, all things considered, record
for one season.
chronicled the success of Margoia
Gilmore, daughter of Frank Gilmore,
in "The Famous Mrs. Fair" When
"The Passion Flower" was blooming at
the Belmont Theater the role of Acacia
was taken by new face and figure on
the stage, which impressed itself at
once upon the memory of playgoers
who witnessed this performance. SShe
was Annette Westbay, and her mother,
Melanie Wicnzkowska, was a famous
Polish pianist, favorite pupil Of the
late Theodor Leschetizky, who came to
the United States several years ago to
escape political persecution in Poland
! and won high fame as a concert artistic.
Later in the season Beth Martin, a
daughter of Ricardo Martin and Ru-
ano Bogislav, the latter the noted
gypsy singer and more recently an
actress in the support of John Barry
moro and Lou Tellegen, won praise for
her work in "Not So Long Ago" Patti
Harold, daughter of Orville Harold,
succeeded Edith Day in Irene" and to
"The Scandals of 1920" now at the
Globe Theater, Dallas Wexford has con-
tributed two daughters. Blythe Daily,
daughter of Arnold Daily, appeared in
"The Charm SCHOOL, and with such sue
cess that she won place in "Happy- Co.
Lucky" Helen Ford. reputed to be the
youngest prima donna in musical
comedy" who came to the Knicker-
booker recently in "The Sweetheart
Shop" is said to be the daughter Of
equally famous parents. She prefers,
however, to conceal her identity, pre-
ferring to win her laurels as her own
legatee.
There are many sons and daughters
Of famous actors and actresses on the
stage, but this group, with Bessie
Bacon, daughter of Frank Bacon, who
now acts with her father in "Lightnin',"
forms one more interesting and more
impressive than that of any previous
season