New-York tribune., 1921-12-25
William Favershanl
Appears as CarstOn
In The Squaw MAN.

Sie 10 special MONDAY 1eSClVc-
ness in the presentation of William
Fawersham in Edwin Milton Royle's
play, "The Squaw Man" at the Astor
Theater at a Christmas matinee to-
morrow.
The Squaw Man" has been called
William Faversham's greatest success.
Certainly he established himself as
one Of Americas S favorite actors in the
role of Jim Carston, the cultivated
Engllshman, who renounces his world
and takes up a primitive life on the
Western plains. He starred in the
drama for three or four seasons and
enriched the gallery of American stage
figures with his portrait of the man
who loved and married a squaw and to
whom comes poignantly the tragedy of
parenthood. For "The Squaw Man" is
tragedy of parenthood painted in
human, emotional tones. Its love
story is merely incidental forming an
effective background.
The play was originally presented
at a Lambs Gambol. 1t was in one
act then. The author was ENCOURAGED
to interest vaudeville impresaros in its
production. They would have none of
it. He tried to get Nat c. Goodwin to
present it as a curtain raiser Good
win was not impressed by it. However,
Mr.. Royle had faith in the play. He
expanded it into four acts, broadened
otO crlo b.
and began the laborious task of ped
ding it to the managerial Offices.
When his despair was at it's highest
over the lack Of interest in his work he
met Mr.. Faversham on the street The
latter was appearing at the time in
Pinero's "Letty." Royle told him of
"The Squaw Man." insisted that he was
the ideal choice for the role of Carston
and gained the actors promise of an
answer the next day.
MIR. Faversham did not wait until the
next day. AS soon as he had read the
play chat night he telephoned Mr.. Royle
and said he would act the role Of
Carston. Rehearsals were begun i'm
mediately, but there were many diff
culties encountered. For example, the
author had taken great pains to get the
genuine Ute tongue into the dialogue
of the Indian scenes. However, he did
not know how to write the words so
that the actors could understand and
speak them. Finally, by trip to an
Indian conference in Washington where
the Ute tongue was being spoken he
won the permission of Indian Commits
sioner Leupp to employ Baco White, q
full-blooded Ute and a government in
, terpreter, in the play and teach the
actors the words required in the situa-
tions. Baco played the part of the in
terpreter in the original production
and it was largely through his efforts
that the Indian scenes were acted with
such fidelity and realism. No pidgin
English, no taking marred these scenes.
They were SO accurately spoken that
had Ute strayed into the theater he
would have known what the actors
were talking about.
The new presentation Of the play
will be in the nature of a sentimental
journey for thousands of people who
remember the original production They
will again see Cash Hawkins, Tab-i-
wana, the Indian chief; Big Bill, Nat-u-
ritch, the little squaw; the Sheriff,
Parson, Grouchy, Shorty, Andy, Petre
and all the others. In the notable
cast assembled Riley Hatch plays the
part of Tab-iwana Che acted it in the
London production in 1909. Burr Nc
lntosh has the role Of Big Bill. Will
lard Robertson is to be seen as Cash
Hawkins. Josephine Royle, the tai
ented young daughter of the author,
appears as Nat-u- -ritch. H. Cooper
Cliffe has been assigned to the part of
TIE kindly and practical Petrie In ad-
dition to Mr.. Faversham, four members
OF the original New York cast are in
the revival, includin. Bertram Mar
burgh, Emmett Shackleford, William
Frederic and Frank Lyon. There are
thirty-two speaking parts in the play
and large number of horses and SUI
pernumeraries are required
The Rhyming O'Brien
Eugene O'Brien says: "The smartest