davidaulloa/AmericanStories huggingface dataset:
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1921-04-17
By Harriette Underhill

And l want you to say, please, IN
large, black type that Pm not secretly
married and that I'm not even engaged.
I'm never going to be married and
when l do it won't be secretly. l shall
have a beauteous wedding. with organs
and bridesmaids and flower girls and
point lace wells and all the rest of it.
"And bridegroom 80 we asked
t;midly.
'Of course a bridegroom"
"And who is he going to be 2"
"Stop it," said Francine Larrimore.
stamping her foot at US. "You are bad
q, oil the rest of them" But Francine
cannot brighten US because she is only
five feet TALL and then we can always
get square with her by telling all we
know. However. we assured Miss Lar
rimore that we would deny her secret
marriage, also her engagement, in type.
Also we assured her that it would be
black, but we couldn't be sure that it
would be large. Perhaps it would be
only ~ on 81 whatever that means
We are compelled to write it at the
top of all our Sunday copy.
Before we go any further, we wish
to say that if we were man We should
marry Francine Larrimore whether
she liked it or not. She is fascinating
for the reason that you never know how
she is going to think, how she is going
to look nor how she is going to talk.
If life with her was not one grand
sweet song, at least it would never be
dull. If you don't know this strange
ugly, beautiful, sweet and caustic red
headed young person, go and see "Nice
People" and you'll have a very good
idea of what she is like in real life
1t seems as though Rachel Crothers
might have written all of the other
parts and cast them, then called in
Miss Larrimore and said: "Now, YOU
are Teddy Gloucester. Just 90 on and
act natural" For Teddy Gloucester
talks, looks, dresses and feels exactly
the way Francine Larrimore does. She
is just as fascinating as that,
last Wednesday night we heard a man
say. 81 enjoyed that play more than
anything | have seen this season." And
we felt just about that way, too. Only
at first we feared the worst. We ar
rived early and sat down in Row D.
In just a minute in came theater
party and sat down in Row E. At first
Ellie thought that Dick should sit be-
side her, but then she decided that
Cousin Emma should have him, so he
could tell her about the play and they
all shifted. Then Dick told Cousin
Emma that the lines were simply great
and not to miss the one where Teddy
says eff he's young enough to be in
love with your mother he's much too
young for you, my dear" nor the one
where Halle says, "If her head was
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1921-04-17
Col. Savage Captures a 'SCount'';;
This Is the Way the Story Goes.

just come in. In another moment the
fateful question would be put: Have
you found your Spaniard ?"
The slender young man gave in his
application slip, and disappeared as
quietly as he had appeared.
"Who was the boy?" inquired the
producer. "There was something IA
miliar about that personality"
The stage director read off the name.
"Operatic experience?
Didn't say SO. .Confided that he
began as a choir singer out in Cres-
ton, Iowa, whatever that
"That's the man--where's he gone
there's your Spaniard-don't let him
get away" suddenly exploded the pro-
Queer.
The stage director darted down the
passage to the elevator and brought
back the slender young man, who reg
istered quiet surprise.
"Did you ever sing at the opera
house in Milan?" burst out the pro-
Queer.
eyes, sir, p
81 heard you in Carmen didn't I?''
eyes, sir, p
You were an American boy study
ing voice in Italy, got chance as Don
Jose one night, made sensation and
then-disappeared into the war;"
eyes, sir, p
And you've still got stage fright off
the stage and the fire of Satan on it ?"
"Yes, sir, p
For heavens sake stop saying YES,
sir, L. Are you ready to begin re-
hearsals-this is only light opera, YOU
know"
eyes, street"
And that's the real story of how
Arthur Uttry happened to bo engaged
by Henry W. Savage for Count Manue
Montijo in Lady Billy"
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1921-04-17
How Author and Producer
Cooperate for Better Films

William De Mile, director of special
productions for Paramount, in a recent
interview asserted that the future of
motion pictures lies with the authors
who write with their eyes directly on
the screen rather than those who per-
nit their published works to be trans
lated into screen terms.
Il used to be an author myself" Mr.
De Mile said, $50 l still have 8 lineer-
ing respect for the trade Just as a
novel cannot be put into dramatic form
without many changes. so both the
novel and the play must be altered to
suit the requirements of the screen.
For that reason our problem is a diff
cult one. We must adapt the story to
screen requirements and we must pre-
serve the distinctive quality of the
authors work. There is only one solu-
ton of the problem-the author mnst
work with the director.
The playwrights and novelists are
helping us out of our dilemma. They
are coming to the studio and learnino
the craft. They are beginning to real
lze that the motion picture is not an
other form of the novel or stage play.
but is distinctive art-an art that
has to be studied"
Olga Printzlau, author of tho
scenarios for Mr.. De Miles produc
tlons, who is in New York for a br;ef
vacation, this week told Just how the
paramount directors plans for active
cooperation between the author and
the producer are working out. She has
recently completed the scenario for
The Lost Romance" an original
story by Edward Knoblock, who has
written many successful dramas
among them "Kismet," "Tieer Tieerp
and my Lady's Dress" Mr.. Knoblock
came from England to be on the
ground during the development of the
scenario of his story and to aid in
its filming.
MISS Printzlau's story of the way in
winch he worked with her and with
Mr. lie Mile is one of the first dis
closures of cooperative method which
marks one of the greatest forward
steps in motion pictures.
Mr.. Knoblock's original idea from
which The Lost Romance grew was
contained in few sentences" she
said. "He wanted to do a story which
would express the search for romance
which lies in all of us, tale of the
romance which is often with us when
we do not realize it, When Mr. De
Mile had approved of the general idea
it was scheme with a beginning.
middle and an end, but no detail
Mr.. Knoblock and I began series of
daily conferences. We talked over the
outline from every angle. We came to
live with the characters. We put our
selves in their places Mr.. De Mile
Joined our debates
/. las we settled on the various points.
Mr.. Knoblock would go to his Office
and set them down in detailed synop-
sis form. At the end of a week
enough of the story was in shape for
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1921-04-17
American Song Gave English !
Girl Her Start on the Stage

1t was an American song-"How'd
You Like to Spoon With ?"-that
started the stage career of Dorothy
Ward, the English actress, who has
been engaged by the Shuberts for
their production of equality Street,
a musical version by Edward Delaney
Dunn and Walter Kollo, of Barrie's
comedy.
At the time the song reached
Birmingham, her native city, Miss
Ward was stage-struck school girl
of fourteen. Her Christmas vacation
was at hand, and the young girl, tall
TOR her years, spent most of her time
seeking an interview with the manager
of a travelling pantomime company
which was playing an engagement IN
Birmingham.
Between meals she lowered around
the stage door of the theater where
the attraction was playing, and one
day fortune was with her. She intro
duced herself to the manager and ap
piled for job
You're too young" he said. BE
sides l don't believe you have any
talent for the stage. You'd better go
back home and stay there
But I'm going on the stage" she
insisted. "And if you don't hire me
some one else will. 1 can sing and
dance little and 1 am sure | will
succeed"
impressed by her earnestness the
manager agreed to give her a trial. He
escorted her to the stage, asked her
10 sing song and dance a little, while
ne seated himself in the auditorium.
The girl began the chorus of How'd
You Like to Spoon With Me?" follow
ing 1t with a few steps which she had
executed in an amateur production
some months before.
The trial was a success. The man
ager engaged her forthwith, though
not without the parental objection.
her parents, however, believed that a
lew weeks in pantomime would cure
nef of stage aspirations.
MISS Ward received a place in the
production, continuing to sing the
american song, and her appearance in
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1921-04-17

me to start the continuity. By the
time we had had more conference s
with Mr.. De Mile another section of
the story was ready to go into con-
tinulty form. AS the story grew it
came to be the child of several minds
IN its form, although the basic idea
and the psychology of the characters
remained Mr.. Knoblocks.
with the author in the studio the
characters in a picture are sure to
be much truer to life than when the
picture is adapted from printed page.
He knows the psychology of his peo-
pie He knows what they would do in
certain situations. BY his art he will
make them express through the pic
ture the subtle emotions they feel-if
he is present as the scenario grows
and as it is filmed
until an author has actually worked
in the studio and aided in bringing his
story to picture form he does not ap-
prcciate the difficulties of continuity
writing. He considers it an easy proc
ess. He does not realize that it is as ex-
aclng as the making of a mosaic; that
it is matter of fitting and piecing of
thousands Of little bits, all of which
must point toward certain end. Writ
ers are surprised to find that often
their stories are more effective in
screen form than they were in novel
form. They find that the dramatic
points have been strengthened in
transition to the screen.
MY experience working with Mr..
knoblock en- The Lost Romance has
proved that direct cooperation with the
author means an infinitely better pic
ture. Not only does the work go along
more rapidly, especially when the story
is an original for the screen-for then
it is developed in terms of the screen
but the finished product is the best
work Of every one concerned in it. 1t
is completely Mr.. Knoblock's story
with all its lights and shades of char
acter delineations and the thrills and
cllmaxes of his own dramatic story, for
it was conceived, written and produced
within the limits of the screen. | can
say with Mr. De Mile, the author must
work with the director-and that also
means the scenarist"
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1921-04-17
A Night With the Friars

Tomorrow night will be Friars'
Night at the Columbia Theater, as DIR.
Leo Michael and about 200 members
of the Friars Club will participate in
the performance. They will inter
polate travesty done by well-known
actors, and after the show will tender
supper at the clubhouse in Forty
eighth Street to Mr.. Pearson in appre-
citation of his good fellowship and Of
the many kindnesses he is always
showing to his friends.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1921-04-17

The stage director was looking for
type.
More precisely, he was looking for
temperament-a fiery, tempestuous,
emotional, infammable temperame emit
He wanted an actor who could play a
Heroic young Spanish count, to the
manner born, with riches, good looks
and the spirit of romance. He wanted
an actor who could say of hims self:
MY sensitive Spanish temperament
and my jealousy-ah My mother pub
licly choked my father into insensibil-
ty at bullfight because for one in
slant he let his attention wander from
the bull to another woman" and con-
vince the audience that he was the
son of such a mother.
For six weeks the stage director had
been looking. He had interviewed
every available actor on Broadway who
could boast a drop Of Latin blood Now
on the morning of rehearsal, the part
was still untitled. There had been ap-
plicants who could look the part, or
act the part, or dance the part, or sing
the part-but to do all four--n other
words, to be the part The stage d.
rector looked out of his window at the
driving rain, and sighed
Then there came gentle tapping on
his Office door. The stage director
opened it upon a slender young man
who seemed to shrink beneath his rain
coat, behind his umbrella, into his
music roll. He had quiet gray eyes and
pale gray voice.
I've been sent"-- he began.
whats your experience7" asked the
stage director, mechanically.
~ began as a-choir singer out in
Creston, Iowa. It's just small"---
"Can you dance?"
eyes, sir, p"
"Play parts?"
Eyes, sir, p
Leave your name and address
Nothing open at present that suits
your type"
The pale gray voice went even paler.
isn't there a-Spanish part?" it
quavered.
Eyes," replied tho stage director
with emphasis "Snanish II has lines
like these: Let me dip my hands in
his blood! In her blood! In all three
of their bloods! If I had found her
here I should have been weltering in
her gore!'"
II once-played a Spaniard," OBJ
served the pale gray voice wistfully
THAT was before the war"
"Yes?" said the stage director va
cantly, for his mind was on something
else. His chief, the producer, had
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1921-04-17
Made i'm Heaven'' and
Percy Granger Are at
The Capitol This Week

Made in Heaven" which comes to
the Capitol this week, stars Tom
Moore; but it is safe to predict that
interest will be divided pretty evenly
between the star and Rene Adoree,
who plays the part of his sister in
the picture. For Rene, be it said for
the benefit of those who do not al
ready know, is none other than Mrs:
Tom Moore.
For made in Heaven" Manager
Rothafel, of the Capitol, has arranged
a special musical program. AS fit
ting observance of Music Week he has
engaged Percy Granger, the pianist,
who will appear twice day; once in
the afternoon and again in the eve
ming.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1921-04-17
By Walter Prichard Eaton

10y w d4tCA llNAtoi ~ A@&~OAA
In the reform of scenic art in Amer
lea 1t is doubtful if sufficient credit
has ever been given to Livingston Platt,
or, indeed, if it is realized to-day how
much Of pioneer he has been. His
latest work, the setting for "Mary
Stuart" is so correct to period, so much
a realistic room and so satisfactorily
rich and beautiful backing for queen
that most people hardly notice it at
all-which, incidentally, is Mr.. Platt's
idea of scenic propriety; the scenery
should conceal it's art in assisting the
play no less than the play should con-
ceal it's art in exposition or climax. 1t
is, however, carefully considered set,
with great beauty of composition and
color, and so designed and lighted that
it intensifies the atmosphere of the
drama
Mr.. Platt, who was born in Platts-
i ns IT, eSs y an "a" Kenyon C Cox and
William Chase. That was back in the
'9os. 1t was Chase, in fact, who in
spired him to take up theatrical dec
Grafton at time when such work for
career was much less thought of than
to-day, if indeed it was considered at
all. Mr.. Platt accordingly went abroad
(there was, Of course, no opportunity
for study in this country twenty five
years ago., and for decade he was one
OF the staff of decorators either in the
Client Opera House or in the opera
houses and theaters of Antwerp, Brux-
elles and Liege. Most of his work in
Europe was done for the lyric drama,
and that is still what interests him
most, because it permits more scope to
the scenic artists imagination than the
spoken drama, especially the modern
realistic drama.
He returned to America in 1910 and
his first work over here was done that
year for group Of amateurs in Bos-
ton, who had little theater on Lime
Street. In 1910 the new art theater
had not reached Broadway, but it was
visible in the Back Bay of Boston. In
1911 John Craig, at that time conduct
ing his successful Castle Square stock
company in Boston, commissioned Mr..
Platt to mount Shakespeare for him,
and in this local stock company the
ater, at popular prices, ten years ago,
"The Comedy Of Errors" Julius Ca-
sar," "a Midsummer Nights Dream
and "Hamlet" were all four mounted
IN the new manner. There was no
painted scenery for "The Comedy of
Errors" With portals, in a single set,
revolving fats, cubes and steps were
combined and recombined against a
cyclorama. The Hamlet" was played
| in single set, which stood all the
evening. 1t was merely decorative 1t
was built of old, rough canvas which
had been used for something else. First
it was scraped to get the old paint off
and was then painted with the primary
colors, hot orange, blue and pur-
pie being used. The set was lighte
through tall, upright Sits, and the
lights picked out their color CORE
spondents and gave to the whole an
indescribably luminous tone. All cos
tunes also were of primary colors and
always, of course, harmonized with the
backing. The Midsummer Nights
Dream" was so staged with tall, slender
screens that there was no curtain drop
between the palace and the forest
scenes, lights and imagination con-
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1921-04-17
HOyt's Matinee Musicals

The Misses Hoyt announce their
Matinee Musicale, in costume, in tab
leaux chantants, monologues, songs,
folk songs of Holland and Wales and
the Story of the Willow Plate, to be
given at the Morosco Theater Thursday
afternoon, April %.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1921-04-17
Livingston Platt--Pioneer
In Reform of Scenic Art:
His Ideas ON the Symbolic

| verting the scenic symbols ,ror
sonry into forest trees.
Miss Anglin saw these nrodro...
and commissioned Mr.. Plat tn ,,o,,-.
four Shakespearian plays for ber ~
best production and the most adv.m
was Antony and Cleopatra wb;.s
never reached New York. The pres.,.
writer saw 1t in Montreal n
largely accomplished with towsr;.~
blue-gray screens and sky back dxoe
in the outdoor sets, and while II ~
not so bizarre that it distracted
audience, at the same time it was of..n
Of great suggestiveness and broad az,
pie beauty. In the last scene n ~,
queens tomb, the towering s,~s.,-
were great columns at the rear .na
from them at the end, like soux.
emerging from the gloom of redm,.,
grove, came the crimson-clad pau.-
with gold armor fashing--an unforc..
table climax.
In all these Shakespearian nroau.
tions Mr.. Platt used permanen+
stage, built in the architectural s.r,.
Of the period of the drama. with =.
frances just back of the tbeater ~.
scenium, and on this stage, before :,
drop curtain, scenes could be pavsd
while the main sets were being sb;ft.a
Urban used the same device !, NJ
York the next year, but, of course !.
was not new thing, except in Amerc,
Mr.. Platt himself had used !. =
Bruxelles in 1901, and it was sc,u.,,,.
far older than that.
Mr.. Platt went with Miss Anr,;o :.
the Coast and mounted the "Flsttr.p
for her. This setting strongly "a.
sembled the setting by Claude Braod,,.
which Walter Hampden is now using
for "Hamlet"-not that Mr. Bragdo.
probably ever saw the "Elektra . h..
as Mr.. Platt says, the artist or arch,
tect in the theater soon discovers th..
his means of expression are str;c.Iv
limited, and thereafter seeks to employ
the simplest and most decorative IA.
vices.
Mr.. Platt at present is the sce,i.
artist for William Harris jr.. and for
him he has mounted east Is Wasta
abraham Lincoln" "The BAD Nanv
and MARY Stuart" None Of these
plays has permitted much departure
from realistic methods. Mr.. Plat il,
! however, rather dubious about the win.
dom of departing from these method,
very far, even in the poetic drama
unless that drama can be newly writ.
ten in an idiom that better comnorts
with symbolic or suggestive scenery.
He feels that the new scenery needs
new drama before the gap can be
successfully closed between scenery
which is in one plane, and living,
speaking actors who are in another.
Any one who saw Jones's Macbeth
and heard the players, in conventional
costumes, speak of the castle, as they
approached it, in everyday terms. and
then beheld the sheer symbolic repre-
sentation of that castle beside them,
must have felt this gap Mr. Plat
speaks Of
1t will, however, be very great pity
if William Harris does not soon mount
some play of imaginative power and
poetic atmosphere, so that New York
may have change to see what Mr..
Platt can do with such play, how far
he can go toward bridging the gap,
for he is one of the real pioneers OF
the new movement in our theater; but
so far as New York is concerned, ne
has never had a real showing.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1921-04-17
Equity Auction April %

The Cabaret auction" is an innoss-
ton planned by the entertainment
committee of the Actors Equity AS
ISOLATION who will sell tickets to the
Equity Annual Show at the 1ioDe
Theater, Friday afternoon, April ~ W
the Tilt of Vincent Lopez's jazz PAM
from Pat Rooney's "Love Birds. ihs
theater has been loaned for the oces-
sion by Charles Dillingham;.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1921-04-17

The new Rudolf Friml musical COM
edy, June Love-" announced to sue
ceed "Mary" at the Knickerbocker
Theater, will be shown tomorrow at
the Apollo Theater, Atlantic CITY.
Else Adler, Johnny Dooley, Clarence
Nordstrom, Lois Josephine, William
Davidson, Bertee Beaumonte, James
Billings and Lionel Pape are promi-
ncnt in the cast.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1921-04-17
June Walker in "TotO"

An important change has been mace
in the cast of "Toto," in which Leo
Ditrichstein is now starring at inc
Bijou Theater, by substituting hslie
June Walker, who made hit in MY
Lady Friends" for Phoebe Foster IN
the ingenue role of Louise de Tilloss
Pueblo chieftain., 1921-04-29
rELr.upuDE MINING NOTE.

Valley View Leasing and Mining
company Is working tho San Bernardo
fun handed and making three to five
cars OF good concentrates, per month.
The saving with the fiotation orc dress
ing is close.
Stories in tho press Indicate that the
smclters in Colorado arc short of lead
ores for nuxing and the price of lead
has jumped up quito bit and will
probably remain UP until good sup
ply can be had.
Liberty Bell Mining company arc
sending down motors. pipc. cars and
appliances from tho mines and getting
ready to close down about May LIST.
Ten stamps of the former ButtcrNI
mill are treating ore from the Matter
horn Mining & Milling company.
Work on tho Shoo'y tunnel at Ophir
n lower level on tho Carbonrro. has
been discontinued for the present.
The outside of the big steel and no
tstion plant of tho Smugglcr-Union at
Pandora ~ shon, finished except for
putting in tho windows, and as there
arc about 5000 pieces OF glass to set
in putty that WI tsne time. tho over
half Ia now finished. Steam pipes have
been laid inside the building and some
Of tho machinery for the new plant is
in.
At the annual meeting Of the Colo
0o-SuNeflor Min1nE company, own
ers of tho Black Rear mines, officers
and directors were elected for tho fircnl
year.
Announcement is made Of the NOR
ger of the Carrotitc Products company
OF Boulder and the Radium company
OF Colorado. The new company will
bear the name Of the Radium company
and will have n capitalization of 81 e00,-
In preferred stock and 10000 shares OF
common stock. Some OF the mos
prominent mining mon in tho United
States have -hrcn selected as officers of
the new company. ..
Pueblo chieftain., 1921-04-29
suALr or NOW IN sIcHr

J. II. GInct. inventor Of the Ginct
process for the reduction OF oil from
rhalc. whose plant was visited by
NcmhcrS OF the chamber Of commerce
10 watch the operation Of the plant.
appeared before the board OF directors
and Eavc n complete history OF the in
rcntion Of tho process that he is using.
He stated that 1t was his belief now
ihit the process was success beyond
rrrsdvcnturc. and gave his reasons
therefore Mr.. Ginct has spent $4,000
m building this plant. which he do
,ominatcs ono unit OF larger plant
~ 10 erected.
Grand Junction News. which men
,irus this. also gives description Of
works OF the Index company operating
,n Mount Blaine. using another re-