Evening star., 1928-06-10


ed at the stage door to catch a glimpse
Of Miss Hail F~
In q spirit Of fun one night they
loudly called, Polly wants crackari"
when Pauline Hall appeared She did
net appreciate the hiIir1or Of the situ-
eticn and thereafter had the police dis
perse all serenad3ng admirers
JULIA MARLOwE was an altogether
lovely young woman. A youthful
piayfulnees hovered over ali her inper-
soriations Of famous Shakesperean
heroines. She brought To the roles a
wealth Of grace, an individuality and a
wonderfully expressive voice that viii
Live forever in the memories Of her
admirers.
While Miss MarIowe displayed plenty
Of assurance when before the footligtts
she was timidity itself when approached
privately. and appeared TO lean COM
pieteiy on Aunt Ada Dow for advice
ard support at every turn. Miss Dow
was capable actress of past genera
ton. who had adopted Miss Marlowe
ard coached he. carefully In classic
reoertoire. One became almost as well
acquainted with Aunt Ada" as with
Miss MaYlOwe herself, since her attitude
ia private always was, Aunt Ada knows
best"
TT Is said that Sir Henry Irving always
i observed the manner and extent Of
his billing at the front Of theater
before ne entered the stage door for
performance.
Cftlers claimed II was just another
demonstration of his tforoughgoing
rsefnod In assuring himself that ne was
securing the right kid Of publicity.
1AAGGIE MITCHELL was known 70
Nl every theatergoer from coast TO
coast for more than three decades.
Ter p,zyx "Fanci1on the Cricket,
Little Barefoot" !" "Mignon" and The
pearl Of Savoy" were simple and ap-
reailnz tales IN which no rancid emo
ftons were permitted 10 peFmeate me
atmosphere Wkinasicsiities tock tne
Mace OF vices. and sorrow only looz@d
In az II passed the girisat heroineS
PLAYED By Miss Mitchell,
Her route was mostly over ore ana
tvo night stands, kerosene Oil CIR
cults. crude wooden tf1estHr buildings,
,1SfT which old-tirne players are only
too familiar Kerosene lamps Sitn I'm
YefIsctorg attached 10 them formed the
footlsgf1t6. Dressing rooms for the ac-
fnrx we're often merely ciftzinec on
s@ctions bark stage, with largs star
fastened 10 tbs best section and re-
segyed a. the room" for the leading
gy.ayer. These "opery houses" were
generally the civic eentefs ana used fof
oil sorts Of public occurrences.
Audiences often contained a large per"
eentsge Of persistent to9aeeo cfieYers
az
then 2 fagoTIte American oec9ipaI.pfl.
Kiss Mitchell used ~ recall with re}lan
that sonetlnneS at pathetic moments ~
her performances she could searcelS
refrain from laughing 81 TN hSitb1onf
Tattle6 losldly. Eonle of tBe gaiiefs
patrons us4d 10 eeefntuate their sp-
pause ny beating the spitb>ons On me
fooT.
WILTOk LAcKAYE Was very sic'
cessfgi IN his appearances as Cur
tas Jsn1ln ~ Charming Poliocks play
iDsct from Prank Morris noYei. Ihf
Mr. iAeEsge was sei10m satisfied
WIN ne playing of the half hundred
ez1fs&' used IN tiae great seene IN sbf
In1ag9 wheat pit a. brokers ana
cieFks. sna was often apt 70 Use pic
t4IhS9ls Language, when the curtain
Ieia, VI giving vent W his feelings after
LIas "s<Sss'' had na4led him about IN
We pit during the mad orgy of btd"
46Ig Tna treatment every one re-
1rlysc lp fbis scene, IL is said, equaied
that In the rolgfeEt se4 OF D Turkish
bath.
-
MAURICE BARRYMORE ct 0ne
time or another IN his brilliant
career on the American stage spneared
sS leading man with many fefnininf
staTs. For some years hs played oppo.
ate Madame Helens Mo6leska In classic
repertoire
Moc5eska Sonaetinges annoyed Barry
more with her orders and sjfs ard they
had mild verbal Tits baek stage Dur,
@aS is* !oouts$ Of ols ot tAssf pas