The New York herald., 1922-02-26
Continued from Preceding Page.


despaired Of. is now in California. He
went there on the advice of his physi-
clans, who felt that the climate was in
dispensable to his recovery. The barry
tone was accompanied by Nine. Maui
rel, who Is known as playwright under
the name of Fred de Gressac.
Pollock Play in Paris.
The French production of Claiming
Pollocl's THE Sign on the Door" will
take place this month at the Porte St.
Martin in Paris. Later the melodrama.
which is the first American melodrama
to enjoy such international fame since
THE Thirteenth Chair" will be given
in Rome. Amsterdam, Berlin, Vienna
and Budapest. The melodrama will
also be acted in South America.
Russian Actress's Career.
Galina Kopernak. who is the heroine
of Frondale's "Montmarte," was with
the Theatre Bi Ba Bou or Isba. which
was seen at the Belmont Theater little
more than a year ago. She sang in
Moscow in operetta before the aftermath
of the war made it necessary for her to
leave her country. She appeared in the
company that sought to entertain the
Russian refugees in Shanghai, to which
she escaped with other artists. She
came to New York with the Russian
company. and determined after her ap-
pearance here to learn English and after
while act on the local stage. She was
preparing TO appear in Russian play
the heroine of "Montmarte." Most of
the other actors who were In the Isba.
which included some remarkable singers
and dancers, are now scattered over
the vaudeville stages of this country,
where they found refuge after the disso-
lution of the organization.
Max MARGIN I'm Europe.
Max MARGIN. who went to London to
superintend the production there OF
THE Might Cap" decided after his
duties were over to visit Paris and
Berlin to acquaint himself with the
conditions Of the Continental stage.
II found nothing In stage mechanics"
Mr.. MARGIN said to a reporter for THE
NEW YORK HERALD "other than what
we have here. indeed in many 1 found
our own stage superior to that of Paris
VI btTiiiis III Il was
disappointed in the methods Of stage
lighting which / had heard were so su-
perior. That Is not true. They can
teach us nothing In this department of
stage technique. I thought that under
the direction OF the famous Rheinhardt
| would certainly see something that we
do not possess over here. But they are
not ahead OF us In any respect so far
as the staging of their plays goes.
but as for the acting---thcy have us
there. One sees in every performance
at first class theater the finished
technique OF q trained artist. There is
always something to be admired in the
acting OF every play. or course that
may be expected where the actor earns
his fame not by acting well part
suited to him and then becoming at
once a leading player. but must gradual
ly rise to the top. proving his ability
in all kinds of roles before ne In finally
accounted one Of the foremost actors OF
his country.
I'm respect to acting. the foreign
stage is far ahead OF us. or such per-
fection as what we call 'Belasco pro-
luction' however. there Is not trace on
the foreign stage today
garry BootbIncl< and Actor.
There probably is no better known
figure along the Rialto than Paulo
Crosse, though few II any of the people
who have seen him almost daily for
many years know him by that name.