davidaulloa/AmericanStories huggingface dataset:
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1921-01-16

Who's Who in the Seven
Star Cast To Be Seen
I'm the Night Watch

"In the Night Watch" the London
and Paris success which the Shuberts
are to present at the Century Theater
on January "a, not only employs as a
spectacle the full stage capacities of
that theater, but 1t is also a love story
with intense acting possibilities. Fred
erick Stanhope, who is staging the
piece, was asked to secure the best pos
sible all star cast. Mr.. Stanhope's
answer is: Robert Warwick, Jeanne
Eagels, Cyril Scott, Maclyn Arbuckle,
Margaret Dale, Edmund Lowe and Max
Figman. e
These players represent a wide va
riety Of training and experience.
Mr.; WaTwick u a Californian. edu-
Gated at the University of California.
He began his artistic career as con-
cert and choir soloist. In Paris he
studied voice under Sbriglia and Bouhy
for three years, appearing occasionally
In roles 1T L'Opera Oomique. He also
studied the staging Of the huge must
cal spectacles presented regularly in
Paris, and becsme particularly inter
turning to New York Scr a vacation
in 1903, Mr., Warwick walked up Broad
way. when an actor whom he had
known in California told him that the
post of general understudy in Clyde
Fitch's "Glad of 1t" was vacant. War
wick said later that at that moment
he realized suddenly that his whole in
terest lay on the dramatic side of the
theater, and that he had really only
gone to Paris to study stage art and
not music. He joined the company
as understudy. "Glad of It" soon became
"Sad Of 1t" for him. The play closed.
Then he found good role with Wilton
Lackaye in "The Pit" From then on he
was uniformly successful, playing i'm
portant rales in SUPPORT of Digby Bell
ing man for Mary Mannering, Grace
George, Mrs, Leslie Carter and Frances
Starr. Then he was starred, and, later,
was member Of the all-star cast which
presented "A Celebrated Case" at the
Empire. Motion pictures occupied him
from 1915 until the present.
Jeanne Eagels was last seen in New
York as star in "The Wonderful
Thing" Her appearance Gin the
Night Watch" is her reenHy upon ths
stage. She was born in Boston, Of q
Spanish father and an Irish mother
Her name, Eagels, is translation OF
her fathers Spanish name, Aguillas
When she was seven years old she
made her debut as Puck in "a Mid.
summer Nights Dream" in Kansas
City production. She has been almost
continuously in the theater ever since
At the age of fifteen she was touring
with dramatic stock company which
played under canvas in the Middle
and Far West.
In Chicago she went into the chorus
of "The Pink Lady" for the experience
After ten weeks at the Colonial there
she came to New York and became lead
ing woman for Julian Eltinge in "The
Crinoline Girl" She succeeded Elsie
Ferguson in "The Outcast." She was
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1921-01-16
Wbe Gbolutiom of a 5tar
BensAn1t

Despite his comparative youth Ben.
Ami's rise to stellar heights in the
theater was no meteorc fight. 1t was
not the story Of an unknown suddenly
transformed into one of the most in
teresting, most discussed personalities
of the' stage to-day. 1t was the story
Of ability and idealism triumphing over
seemingly insurmountable obstacles,
For the star of Arthur Hopkinss pro-
duction of Sven Lange's "samson and
Delilah" AT the Thirty-ninth Street
Theater struggled and toiled, both in
his native Russia and in America, keep
ing in mind the finer ideals of his art,
until no reached his present position.
Born in Minsk thirty-one years ago,
Ben-Ami was dispatched to the
"cheder," or Hebrew training school,
at very tender age, where he had a
thorough Talmudic training in prepara-
ton for the rabbinate. His parents
we're well-to-do orthodox merchants,
and they expected their son to embark
upon learned, religious career. Until
the age of ten or eleven he kept faith
fully to his books, and then the circus
came to town. No longer did Ben-Ami
think of the rabbinate.
1t was no three-ring affair, this cir
Gus that came to Minsk, but a troupe
OF three-two humans and bear. And
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1921-01-16
That Intimate, Personal
Touch Gives the Plays of
Glare Hummer Individuality

In the first place, she is thoroughly
Anne rican. Her father, Eugene i.
Beecher, was nephew of Henry Ward
beecher and of Harriet Beecher Stowe
and, in her mental processes. she is
strikingly like her famous granduncle.
In her personal associations Miss
Hummer is like a squirrel, elusive, YET
living full and crowded life by her
self with few persons whom she
knows well, going out but little, but
when she does, everything registers.
She holds a keen interest in, world
affairs, be they big or little, the poll
TICS OF nations and governmental In
trigues, and varying and multidudi-
uous number of events she will remem-
Der for years. She is like one who
mas an intensely visualized acquaint-
ance with people whom she has never
met. Their affairs are real to her, and
IN mental association she follows them
out into the world.
Clare Hummer never keeps 8 note
pook; never plots her plays. She con
celves the idea of situation or theme,
or one or two characters, with some
event that concerns them or changes
their way of life. Other characters
that would naturally surround them
just walk right in and live; in ever
case the first speech is spontsnsous
one that stamps the character SO thor
oughly you never lose sight of it,
The humorous quality of her dis-
!ogue, which is always such big fac
Tor OF her success, is inherently her
own. Tor Clare Runners comedy pops
out IN even the most serious moments
OF her own life.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1921-01-16
Stage Success Aided
By College Training,
i, Says William Williams

How much of an asset is college
education to the man who follows the
stage as career? Is its value suffi-
Gent to justify the giving of four
years from the very heart of ones
youth to obtain it?
William Williams, Harvard gradu-
ate who is associated with Florence
Reed in "The Mirage" believes that q
college bred man or woman has dis
tinct advantage over his brother OF
sisser in the theatrical profession. He
declares that nowhere else Is 1t so
needed, or less valued.
"College training" says Mr.. Williams,
"isn't appreciated SO much on the stage
as in other professions, because it is
difficult to show tangible results of
having had it. There is no direct OPP
portunity for an actor to mako nracti-
cal use of Greek and higher mathe-
matics, for instance, but nevertheless
he is the better actor for having had
both.
when started in at Harvard had
no intention of becoming an actor" he
went on. "You see, was an orphan,
but my father had once told me there
that Of an actor and that of preacher.
had not, therefore, thought of the
stage as q profession when entered
college, but a brief association with
Professor Baker and his class attuned
me to the call of the theater,
"My first role Of any consequence on
the legitimate stage was that OF the
boy in Lilac Time with Jane Cowl.
secured it over many other applicants
because l spoke French fuently. The
part required both the speaking and
reading of that language. This little
experience at the beginning proved to
me quickly that my college work would
be Of inestimabie value along the way
I have so found it at every turn. 1t
has given me a clearer power of an
alysis, keener understanding Of lit.
erary merit in play, broader view
point, greater knowledge Of values
in every direction. and steadier pur::
pose than would have been mine had
] not had those four years at Har-
ward"
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1921-01-16
Margaret Wycherly's
Acting Gives Impetus
To ssMixed Marriage''

"Mixed Marriage" now playing at
the Times Square Theater, will be con-
tinued into next week with special
matineeS.
There will be performances on Mon
day, Tuesday and Wednesday after
moons. Gilbert Chesterton will use the
theater on Friday afternoon for his
lecture. There will be a performance
Of mixed Marriage" on Saturday morn
ing, however. The curtain will rise at
II a. m. This feature of morning
performance will be continued through
out the run.
This third success of St. John Ervine
the British ct .t nhlaywrght. who is the au-
C!egg," owes its unusual impetus to the
acting of Margaret Wycherly and to
the direction, as we'll as acting, OF
Augustin Duncan.
! IT was Augustln Duncan who directed
and portrayed John Ferguson" for the
| Theater Guild whan that Organization
was under the leadership of Rollo
Peters, who designed the sets for this
first success of st. John IRVINE and
acted one Of the leading roles, Rollo
Peters, who is now interpreting an i'm
~ortant role in MIXED Marriage" is
tae designer Of the scenery as we'll.
among young men in the American
theater of to-day.
"A work as realistic and naturalistic
as John Ferguson and Mixed Mar
rage, SAID MI. Peters, docs not
offer the same occasions for color as
did our first production, Bonds Of In
terest, which the Theater Guild pro-
duced when Mr.. Duncan and I were a
part of that organization, nor in my
settings of THE Prince and the Pauper.
There is, however, decided feeling of
color underlying such themes as are
depicted in Mixed Marriage find
designer to work ON in the theater as
it is for the actor"
Margaret Wycherly had only al
autumn's rest after her triumph il
"Jane Clegg" with the Theater Guile
before assembling her powers tx
achieve further recognition in this
piece, in which she plays the part O.
an older woman than Jane.
"Duse!" exclaimed Yvette Guilber
when the curtain had gone down at thu
close of a recent performance at thu
Times Square Theater. Nine. Guilber
and her pupils had come again to SCI
the play after the removal from it,
birthplace at the Bramhall Playhous'
for the more spacious precincts O.
Broadway.
After playing separately in thu
other plays of Ervine Miss Wycherly
Augustin Duncan and Rollo Peter
Joined forces. Two other members wh'
help to compose this cast are Angel,
McCahill, who followed Helen Freeman
in "John Ferguson" and Barry Macol
lum, who was with Miss McCahill il
the same production in the role O.
is depicting the ideals Of the masse
in mixed Marriage" is the onl!
strange in this growing and versatile
family w st. hohn Ervine's.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1921-01-16
Actors Should Garry
Their Make-Up Boxes
Inside Their Heads

"a good actor carries his makeup
box inside his head"
Raymond Hatton, of the Goldwyn
Players, might seem TO be trying
qualify as member of the epigrsm-
matists' club with that sentence, but
he dlsclaims any attempt to join tae
ranks of Wilde, Shaw and Whistler
He says it is q plain statement Of
plain truth.
Having ones hair combsd to
nicely and exactly the right smouh'
OF mascara and rouge on ones lace
Will never make any one be res'
character" Mr.. Hatton says. III 81
actor feels an emotion strongly enough
he will get it over to the audience,
This is just as true on the screen =
on the stage, although lot o. peop,s
seem to think that because no wofns
are spoken in pictures the only. tnlnt
which counts is how the actor LOOKS;
"The hardest work al actor does =
before he steps upon the stage 81 -
either for q performance or for W.
camera. He should have though gu
every detail of the character. be y y
play-he should try to feel as the ensI'
acter in any given situation wouiag IT, =
To do this nothing is too trivial, "nsn
J played the part of the mad InveIT. a,I
in support of Will Rogers in 'Jes' 1 -.
BE Jim,' for example, wore eos'..
WOODEN underwear. 1t didn't shos -
the picture, but / had figured i oIi
that a man in his environmsnt wos.S
wear such things, and it helped 70 81
me into the spirit of the part. a
"When l was given the gaM =
Weelum In 'Bunty Pulls the STINT
which we have just made at the s s,'ss
wyn studio, spent all the time ! es ssit
with Scotch friends. tried 70 ~, M
with a real burr l read noshlns ,,ssd
Scotch books. / don't think J oms -
one of Barrie's. even stumsu ssss
Presbyterian catechism. Qua l,; 10 70
my hair cut at just the sight epY an
look like Weeluna, it is true, put s,e ~
sure the other things | did wels ssrt.
important in making me be xae.,xrens
That is why / stand by my ss,sSsr
that an actor should carry ms
up box in his head"
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1921-01-16

When one is the author of successes,
particularly in the field of playwriting,
the questions occur, "How is it done?
What is the method?"
And Glare Hummer, whose newest
comedy, "Rollo's Wild Oat," is now
at the Punch and Judy Theater, has
inspired just such wonderment ever
since the initial performance of her
first play, Good Gracious Annabelle."
The keynote of Miss Runners sue
cess in playwriting may be found in
her directing during rehearsal, in
her gentle voiced "Try it the way you
feel it," Whenever discussion arises
concerning the reading of line or
the working out of situation. Miss
RUNNERS characters are natural, HUI
man folk who act and talk just as do
their prototypes off the stage. To Miss
Hummer, her characters are real per-
sons--her friends whom she loves and
holds in dear interest. AS a member
of her family once remarked, "If you
have three hundred and sixty-five
breakfasts with Glare. you are very
likely 30 have breakfast with three
hundred and sixty-five Of her charac-
ters."
Miss Hummer has no hard and
steadfast rules for the. writing of her
plays, she does not require o certain
number of fixed hours at her type
writing, neither does she make an up
heaYal of her household nor disturb
/ the routine of those about her. A
glimpse of her own characteristics tells
not little Of her way of writing sue
cesses.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1921-01-16

then placed under five vesr.,
ring contract by the late Josenb p ssar-
successive appearances were In .s suvoks.
Your Husband Doing?p Tbs mars
Pursuit and with George Ar,; ufeat
The Professors Love Stervn s' IN
"Disraeli." Nssiy and
Maclyn Arbuckle, who ha. ~. =,
OF government prosecutor in ths .eis
scene of sin the Night Watch l. i.ial
yer as well as an actor. Mr.. AM
was born in San Antonio. Tex IT, .skie
admitted to the bar in 1887 and Ia va
ticed law IN Texarkaaa. He was s,s ssss-
Justice Of the Peace soon sftss sss
was twenty-one years old His ~, ~
as an actor WAS made with Peter pa,s sus
comedian, in "The Emjerant
at shreveport La. "
Mr.. Arbuekie was a membev ~ ~.
all-star cast which revived atPhs M ~
Henrietta" He also was with W;,i;sey
Favsrsham, Maxine Elliott and I,ssa
Fenwick in Mr.. Fayersham's aails sae
revival Of Lord and Lady AlgvS TS hss
he was seen as John Tarleton in Hs ,A
nard Shaw's "Mesalliance.s imr.d,
ately before joining an the y;shs
Watch" Mr.. Arbuckle created the t't as
role in Daddy Dumplins.a '''
Both Cyril Scott and Max Fivu.,
are graduates of famous sehosI -
acting, Days Theater. AR. Scott bs =.
been starred in London and New yc,s
in both musical and dramatic nrodua
tions. He was the original AbersassS
in the 1900 "Flerodera" preduet;an a.
the Casino, singing the barytone nun
bers. little later he was stsrraa
in "The Prince Chap" which he playeS
for three years. He was last seen Il
New York in the leading male role in
Paddy the Next Best Thing" Mr.
Figman has only just returned from
starring tour of several years n
the British colonies. He was last sser
in New York in the all-star cast Of
Zine Feathers" at the Astor.
Margaret Dale made her first i'm
portant stage appearance as leading
woman Tor John Drew. She was with
him for four seasons in "The Mummy
and the Humming Bird" "The Duke Of
killiecrankie," captain Dieppen and
Delaney" She was leading woman for
Henry Miller in "Heartseasen and
"The Only Way" Next, she Joined the
Empire Theater stock company, su-
pearing in "Mrs. Danes Defense
"Lord and Lady Algy" and "The In
portance of Being Earnest" As leading
woman for William H. Crane she was
Bessie Brayton in Father and ,the
Boys" She also had the leading fe;ni-
nine role in Sutro's Money" The all
star cast, with William H. Crane, Ellis
Jeffreys and George Giddens, which
pres; ted "She Stops to Conquer
engaged her next. She played for four
seasons the role of Mrs. TTavars, with
George Arliss, in "Disraeli.H
Edmund Lowe who has the juvenile
recalled as the principal actor in Be-
lasco's The Son Daughter" Prior to
that he had the chief masculine roles
in THE Road to Destiny" and "The
Brat"
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1921-01-16
Betty Compson Combines
Production, Acting and
Management i'm Theater

Betty Compson may we'll mark this
day, for it brings her before the public
not only as motion picture star but
as an actress-producer. "Prisoners Of
Love-" which ia to be shown at the
Capitol Theater this week, is her first
starring picture and it is also the first
one made for Betty Compson Produc-
tious. So, taking it altogether, this s
very important time for the young
woman who made such a success in
"The Miracle Man"
Miss Compson has complete charge
Of the business and artistic ends of
her company. She appoints all her
aids, selects the stories to be screened,
the continuity writer's and directors
and passes on all sets and exteriors.
She is in just as close touch With the
financial end Of things. Daily REPORTS
on the expenditures and the income of
the company ara submitted to her and
her signature is necessary on all con-
tracts.
Miss compson has had good training
support herself and her mother when
her father died. She was just fourteen
then. She did 1t by playing her violin
in the orchestra Of a vaudeville house
in her home town-Salt Lake City. One
day musician was too i'll to do his
turn" and the manager asked Miss
Compson il she would fill in the time
IL was her chance. But she was doing
some very quick thinking. And what
she thought was the world-old thing
which is always perplexing women
what should she wear? 1t wasn't that
! it was difficult for her to make choice
II was that she didn't have anything
from which to make choice. Girls
in their teens who support themselves
and their widowed mothers don't have
much money for tulle gowns and dainty
slippers. Then she had an inspiration.
She suggested that She go on made up
as ragged little girl Of the streets,
playing on the corner for money. The
manager agreed. And that afternoon
Betty Compson made her first hit
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1921-01-16
European School of
Acting Is Contrasted
With Our Own Stage

In the Continental theater acting is
acting, by which is not meant that act
ing is not acting in the American or
English theater, but there is in the
Continental theater no distinction be-
tween what on this side is described
as straight" and character" acting.
According to Jose Ruben, acting OPP
posite Mary Nash in "Thy Name Is
Woman" whose experience covers both
sides of the Atlantic, there is no such
thing oyer there as character" part
as 1t is known here. Rather does the
French, Italian or Spanish actor work
on the hypothesis that every part is a
character part, and that the actor can
not rely, to any appreciable degree, on
must make himself as nearly as pos
sible the perspn created in the authors
imagination.
"Cf course" says Mr.. Ruben, chat
school has one substantial advantage,
and particularly in the case of the
young actor. who must, perforce, play
every kind Of role, including many far
from his own physical and tempera-
mental attributes, before he is person
Of any consequence in the theater. He
receives, therefore, thorough school
plication, develops into an actor quail
fed to give good account of himself
IN virtually any part that comes his
way"
Ruben, now an American citizen and
proud of 1t, is also proud of his French
origin. He first faced American foot
lights in 1909, when, as member of
Sarah Bernhardt's company, he toured
the country. He spoke English fluently
and at the conclusion of the Bernhard
engagement was advised to stay in
American production was in "The Gar
den Of Allah" in which, at the Century,
he played Batouch, an Arab guide.
Batouch was enough of part to allow
Ruben to make his presence in the cast
felt. Two years on the road with "The
Garden of Allah" encouraged him, and
he determined to pursue his career
here. But it was some seasons later
before he was to make an impression
as an English-speaking actor in New
After "The Garden of Allah" he ap
peared here with the French Players,
staying with them two seasons, and
then .devoting year to motion pictures,
which took him to the Pacific Coast.
The picture folk offered him various
inducements to remain on the Coast
and before the camera, but he wanted
to continue his stage work and re-
turned to New York, where no one
seemed in mad hurry to put him to
work
The Washington Square Players
were active, and Ruben sent them a
one-aet play he had written. Discus
sion of this led, not to It's production,
but to its author becoming q member
Of the Players.
Last season Ruben scored a substan-
tial personal success as the DOPE driven
pianist Of Sacred and Profane Love"
Early this season he appeared as the
star Of "The Checkerboard,n which
failed. but from which Ruben emerged
triumphant, thanks to an admirable
smuggler husband in the vivid and COL
orful Spanish melodrama at the Play
house, he is giving another brilliant
performance in a role wholly unlike
any in which he has appeared in New
York.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1921-01-16
klaw Theater To
BE a Little Gem
OF s'Intime" Type

There is always room for one more"
is truism when applied to theaters
in New York, where the sixty already
in full swing are not enough to house
the many plays clamoring to be seen
nor to accommodate the crowds eager
to view them. And so a cordial well
come will be extended the newest ons,
tho Klaw Theater, when it opens its
doors to the public next month.
Seating only about $50, the Klaw be-
longs to the "intime" class of theaters,
Of which Winthrop Ames's Little Thea
ter was our first copy. 1t ia situated
makes the sixth theater in that street
between Broadway and Eighth Avenue.
The building, designed by Eugene de
Rosa, is colonial in style, of red brick
with a base of granite. The decoration
Of the interior Is carried out in gray.
gold and jade. Paneled wood wainscot.
ing is used for the orchestra and bal
cony walls.
italian marble covers the walls of
the lobby. Two marble staircases lead
to the balcony and to the executive
Offices on the mezzanine floor.
An improvement that will add to tho
comfort of their patrons has been
found by the builders in specially de-
signed seats that are unusually COM
modious, while the removal of the
musicians from the orchestra floor to
a space above the boxes provides room
for better arrangement Of the rows
than is customary.
The "co-educational lounge" is de-
cided innovation. Designed in the style
of the Elizabethan period, with large
stone fireplace, high oak wainscot and
ornamental ceiling, it is an inviting
spot in which to await the laggards OF
a theater party or to lounge for chat
and q cigarette between the acts.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1921-01-16
ssCarnille" for Naximoya

Nine: Nazimova's next production for
n Metro will be Camille" instead Of
June Mathcs is adapting Camille" and
production will start this month under
the direction of Ray Smallwocd.
"Aphrodits" will be filmed later IN the
warmer.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1921-01-16
ssTernple Dusk" COMPLETED

Robert Schable has completed work
on the heavy lead in Temple Dusk" =
George Baker production. Schable was
first stage director for John Drew,
then director and eventually an actor
in motion pictures.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1921-01-16
s'Wedding Bells" for Constance

Funny, bus wedding Bells" has
been chosen rs the next Chef Whitney
production for Constance Talmadge.
The play was written by Salisbury
Field and produced last season by Ed
gar Selwyn, with Wallace Eddinger and
Margaret Lawrence in the leading
rifles
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1921-01-16
Lon CLANCY With Goodwin

Word has come from, the Coldwyn
studios that when Leroy SCOTS 1.-THE
Night Rose" goes into production the
CLANCY. Leatrice JOY will have the
leading feminine role. Wallace Wors-
ley will direct the production.