The New York herald. [volume] (New York, N.Y.) 1920-1924, 1920-10-31
Miss Victor on
Hon to Be a Hit
% UHkIN
nTHEATRE

Some hints on how to make a success
full theatrical production were given
gratis to the public through the inter-
viewer the other day by Miss Josephine
Victor, playing the leading role in Gals
worthys 1.-THE Skin Came" and perhaps
besides the public she was talking in
her dressing room at the Bijou Thea
ire for the benefit of William A.
Brady's press agent, who also has de-
signs upon the drama, especially in its
more prosperous phases.
'Tn the first place. said Miss Victor,
you must have a good play, one that
rings true in it's psychology"-and the
press agent nodded sagely, indicating
that all his plays were of that type. "If
it hasn't true psychology, you can't
do thing with it''-and the press agent
gave up such pieces likewise with a
gloomy shake of the head. "Farces, for
all their quick complications, aren't out
side this class for they must have core
of real human nature or they decay.
Avery Hopwood writes very deft and at
tractive farces, which get over because
they're wrapped around a sound
thought" (Confirmatory nod by the
agent.)
Next, the cast should be good"
smiled Miss Victor, for the conductor is
worthy of his instruments. A skilled
player can do much to build up a play.
since an author usually can't do much
more than suggest a character for an
actor-he fills It in with his face. Eyes
can be more pithily eloquent than words.
and I've known a good understanding
yN1a 10Th n co IN q
line-express It with a look SO intel
ligent actors are really quite necessary.
And then, after ALL" exclaimed Miss
Victor In a burst of confidence. you
never know for sure whether the play
will go or not!' The publicity agent
shot to his feet, alarmed, but subsidized.
"a year ago I had a play with n thrill
ling scene in 1t offered to me. The au-
thor begged me to take IL for 5000. I
never heard such terms, but while !
thought the effects in It were wonderful
] felt the big scene had gone through the
fire of vaudeville and been burnt out. I
declined it-and from the money that
production has made since ! could have
cleared a fortune. But then, shouldn't
have been able to look myself In the face
after doing such a part--I shouldn't have
felt was myself" (The press agent
guaranteed this also)
I'm this play of Galsworthy's i enjoy
being an honest human being again and
moving In a restrained, realistic world
after having been enclosed In an stmos-
phere OF romance and moonshine earlier
IN Martinique Such changes are good
for a player. especially with a director
like Raril Dean to guide one in the
change of climate. I like playing a
Galsworthy role, though the watchers
from beyond seem to be divided whether
his plays are of the theatre or not
When they're not of the theatre some
commentators say his plays are too lit
erary. and when they show a good the
atrical techricre they think he's throw
ing away his literary art for claptrap.
what seems to be overlooked is that
here is man who is trying sincerely TO
weld literary art TO the theatre. and not
always getting thanked for II. Also
there are some points In play which
are necessarily and permissibly of the
theatre, though they go right over a
laymans head without coming within
miles OF his hair part. For instance. In
one scene with another character In The
| Skin Came I raise my voice quite
loudly, though such q thing In actually
would bring the family up In haste from
their tea and make them swarm around
my ears. But I have previously estab-
| lished the fact that they're down stairs
and presumably out of hearing so any
good director would know IL was proper
| TO raise the voice there, TO break the
monotony and vary the pitch of his sym
phony.'
The press agent nodded the final cur
tain to the interview.