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About The Sunday Oregonian. (Portland, Ore.) 1881-current | View Entire Issue (June 24, 1900)
r-IJJ Af'ipkl JWl -PHE SUNDAY OREGONIAT, PORTLAND, JUNE 24, 1900. 17 t2Hv THE DRMVIA JX3 lj m S & 4 Disappointment. A brown-ejed. falr-halred raalden Among: the chorus stood; Her little legs were apple green; She wore a little hood. Insouciance and modesty And comme 11 faut and wit Revealed themselves In very pose. A chappie In the pit " Assured himself her blood was blue As any Queen's that reigns; He'd wager, too, that's what he'd do. She'd ten times better teins. . He -waited to be Introduced; They sauntered up the street. The -nordlets from her ruby lips Were well, they were a treat; For "wasn't your' and "usea't It?" And "nit" and "call the turn," And all them other little gems. And many a "dough to burn," Pell hard upon his tingling ear. Across a wad of gum. He thought, the pity of It all, . "Why Isn't beauty dumb? "When next he sees the dainty maid. "With legs of apple green. He'll know that she Is scenery Meant only to be seen. And he who looks and runs away. May live to look another day. San Francisco Dramatic Review. MAX1NE ELLIOTT'S DRESS Our Audiences May Be Cold, bnt That la Xo Eichhc for Slovenly Stage Costuming. One often hears a growl about the con duct of Portland audiences at the play. The "late-arrival" nuisance Is a nuisance, indeed; but as to a want of enthusiasm I cannot join in that complaint, as a rule. I think that the Jobm Drew Company and the Goodwin-Elliott Company received their full meed of applause. Especially is the statement true of the reception ac corded the last-mentioned; orgonlzataoni on the occasion of its recent Marquam en gagement. On bouh nights the audience was most beautifully arrayed, in honor of a fine company of artists, and of an actress who is said to be tihe most beau tiful leading: woman on the American stage. This waa only befitting the occa-1 sion. But when Maxine Elliott appeared, look ing shall I say slovenly? well, slovenly! it was a shock to all observers. One of her costumes was positively in" need of a thorough "dry-cleaning." The other was decidedly stringy as to skirt, and com monplace as to bodice and pity 'tis! Is the lady out for a Summer holiday, and incidentally with Intent to wear out her old clothes? There is this much to bo said: When a company of actors such as those of the Goodwin Company, and which commands a large, cultured and splendidly drcssed audience, at a high cost per seat, visits Portland, It is naturally expected that its members will appear before that audience in clothes as beautiful and as cCean as the parts presented will admit of. B. FARCE-COMEDY AT CORDRAY'S. "A Spring Chicken" All the Week t That Theater. The claim is put forth that "A Spring Chicken," which will be produced at Cor droy's tonight, and will run all the week. Including Saturday matinee, at that thea ter, is one of the liveliest and brightest of tihe many farce-comedies wthldh have been seen on the road this season. It is said to be a laugh maker of the purest type, and to be in capable "hands, a leading .member of the company being Rose Suth erland, who will perhaps be remembered for her work with Hoyt's "Trip to China town" Company. Other members of the organization are: Bert Flatt. Mabel Cas sldy. Horrj' Armstrong and Gustave Kline. Numerous specialties will be presented, and otherwise the production Is said to be altogether satisfactory. MaaaKer Jones' Next Attraction. Manager Jonca has booked a very good attraction for the Metropolitan Theater for Friday. July 6, at which time Marie Mildred Marsh, pianist, and Retaa John ston Shank, contralto, will appear in & repertoire of classical music Mdss Marsh Is a graduate of the Cincin nati. Conservatory of Music, and has spent five years abroad. She is said to have perfected herself thoroughly in the tech nical requirements of her profession. Mrs. Shank has traveled through the East with Xavld Blspham, the grand-opera, baritone, wfho was here this season with "Walter Xamrosch. End of Season Near. The theatrical season Is drawing to a close. The sole attraction of last week locally was the Nashville Students at Cordrays Theater, and there Is not "much to come at either of the Portland houses -in the immediate future. The approach of warm weather and preparations for going to the eeashore and mountains disincline people for theatrical entertainment, and nothing but a Summer-garden arrange ment will bring them out in any numbers, unless it be a dramatic or operatic at traction of the first magnitude. PI HATING NOVELS. Some Recent Dramatization and One Vnlcrnr Tiny. ASTORIA. June I9l-To the Editor.) "Wfhene er a ploy turns out a tuccess. and particularly if it be a dramatization from some novel, and the author has been r.eg cctful In securing proper copyright, every stock or reperto:re- company in the land good, bad or indifferent Immediate-, ly pounces -upon it and proceeds to present it,( from one end of the country to the, other. tKl as a money-moksr-it 5s sim ply "squeezed" dry. Somdhow these fly- by-night companies remind me of a certain fifth Uhat is found in the waters of the Co lumbia, and which la known as the "sucker." Drop a bit of food in the water, and countless numbeis of these "fish swarm about it till every atom is de voured, and then, still greedy as ever, they retire uotil the next good taring comes alcng. A few seososs ago "Cyrano de Bergerac" wan the rage, and no doubt he was "mur dered" in more than one one-night stand. Horn recently "Quo Vadis?" has had a bold on tihe public, but the one that at prercctt seems to be most prominent in the public eye is the adaptation from the French of Daudet's "realistic" novel, "Sapho." Have you ever rend the story? Well, the man wOio had the nerve to adapt It to the stage is brazen enough for any undertaking. From all we can gather, the chief rea- ON THE r Jw By--'. . ''"''' " .j ( "They say your heart Is as hard as glasV "Try a diamond on it." son why the pece ia considered a success from a theatrical standpoint Is because of the boldness of Its plot and the vulgar ity of the subject. These are strong words, but I stand by them. A play that has vice for a foundation might be a money-maker for a time, but It cannot under any cir cumstances be a moral educaltor or a power for good. The arrest of Olga Nethereole while pre senting "Sapho" In Now York Is, of course, one of the causes that draws a morbid crowd to see the play. "The mere anrouncement that 'Sapho would be pre sented sufficed to croate a run. on the box office and to pack tbe theater. The play ers are entltCed to something more than praise for careful treatment of a delicate subject." This Is a critic's "write-up" on a recent performance of the piece In San Francisco. Whoa a beastly taste some people have for the vulgar! Notice that the critic ubos the term "delicate subject," A dirty subject, rather, and one which no 'self -respecting playwright would or need put Into a play, and that no manager who has t&ie best Interests of the theater at heart would put upon the boards. It Is never necessary to stoop to the bad. There are countless good pllays that can be produced, and I think it is the general opinion among those who have made a study of the theater that good, clean plays will draw as" well, and bet ter, than those whose qualities are of a questionable nature. "Wo realize that the theatrical manager is hi the business for the money that he can make, and that he presents p'ays with that end in vVw. Let him consider such ptoys as "Rosemary," "The Little Minister." "Sherlock Holmes." "Sag Har bor," "Barbara Frletchle." "The Chris tian," "Ben Hur" all clean and worthy any man's attention and then see if his bank account will not ba Just as big at tbo end of the season. Better still, he will have the satlsfacMon of knowing that his producalon Is wcrthy of his labor and the patronage of the public S. TERRY M'KEAN. JR. GLEANINGS FROJI THE WINGS. Matters of Interest to Plnysroers and Actor 1'olU. The James Nell Company sailed for Honolulu "Wednesday, June 13, to fill a four weeks engagement at the Hawaiian Opera-House, Honolulu. The Barnum-Bailey circus exploited it self in Hamburg, Germany, by paying the street railway companies W0 to stop all their cars during the five hours of a parade. Germany never had a big tent show, and this one amazed the peoplo with Its size and methods. Pretty and shapely chorus girls who can sing and dance are in great demand in New York, and competition among managers to secure them is sharp. Ben Teal will use 100 in "Foxy Quiller," SO In 'The Rogers Brothers In Central Park. and CO with Agoust family. He began making his engagements eight months ago. Ben Teal will stage the new vaudeville farce being written by John J. McNally for Frank McKcc, as a vehicle for the exploitation of the Agoust family. Mary Mannering will make "her initial appearance as a star In "Janice Mere dith," In Buffalo, early In October. Peter F. Dailey will inaugurate his re turn to stardom in Boston In September," Jn Frank McKee's production of "Dlnkel ' spiel," Hobarfs adaptation of the Ger- man musical farce, "In Hlmmelhof." "William Farnum. the young actor who I will play "Ben-Hur" next season. Is a splendidly developed athlete. He is 26 ) years old, stands 5 feet 11 Inches and j weighs ISO pounds. His chest measure Is 42 incnes, ana nis biceps I5i Inches. An actor who can look Ben-Hur, as well as act the part, is a valuable acquisition to this play. , NETHERSOLE'S BIG EARNINGS. j At the Ape of ::0, "Snpho" Is Vorth. I the Sum of fSOO.OOO. ! Speaking of Olga Nethersole, whose sea son has Just closed In a blaze of financial J success, Henry Bell, of the New York j Press, has this to say: I "Yet she has alwuyz, made a good in- BEACH. come on the stage. Her debut was effect ed under powerful auspices, and even at the start 'of her dramatic career she re ceived a handsome salary and attracted general attention. Augusiin Daly gave Miss Nethersole $500 a week for her first year in America, and the Frohmans grant ed a similar salary to her In the1 follow ing season. Since she reached the age of 25. Olga's income has averaged 517,000 a year. "The season that has ended was much more prosperous, for this talk about the wickedness of 'Sapho has aided Its earn ings remarkably. In ail her theatrical ventures. Miss Nethersole made ends m;et, and at the age of ZT the drama has paid to her the neat sum of $200,003. In these agreeable circumstances, the young ac tress feels justified in taking life com fortably during vocation. "Her London home, to which she will return next week, is in Norfolk street. Park Lane, which is the heart of swell dom. Miss Nethercole is grieved to real ize that instead of owning her own house she holds it on lease, four years more of which term have yet to run. At the ex piration of that time she will probably be come an American cltlzencss, for In spite of bilious journalism, Magistrate Mott, our District Attorney and Grand Jury, Olga thinks well of us, and may cast her lot with Yankee Doodle. "She has gained 10 pounds In flesh since 'Sapho's' troubles ended, end Is now as fit as a fiddle and twice as handsome. Next season she will begin her tour In San Francisco." ABOUT "JANICE 3IEREDITII.' Stronpr Company- Belnpr Engaged for Its Dramntlc Production. Edward E. Rose is at work on the dra matic verscon of "Janice Meredith" at Marshfield Hills, a small town in Massa chusetts. "When he began nls task, the question as to who would play Janice had net been diecided, although he (Rose) had always desired Mary Mannering for the part Early one morning Rose went Into the village to make a purchase. A tejegraph messenger handed hdm a dispatch from Frank McKee, announcing the engage ment of Mess Mannering as Janice. Mr. Rose, In his enthusiasm over this news, -took off his hat and gave three cheers in the street. The people of Marshfield Hills now speak of him as "that crazy man who geta-up theater shows." It is evidently Frank McKee's purpose to surround Mary Mannering with a re markably strong company in "Janice Meredith." His first engagement that of Robert Drouet for the leading man's pait of Charles Fownes, the bond servant, who is afterward on the staff of "Washington, was am indication of this. Mr. Drouet is ore of the most nromlsirg young leading men on the American stage. But McKee's most Important move was to secure Burr Mcintosh for Philemon Hennlen. Mr. Mcintosh Is a very clever actor, especially In character parls. He was the original Colonel Calhourn Bow ker in "John Needham's Doubie," the or iginal Taffy In "Trilby," the original Jack Rose in "Phvey Ridge," the original Dan iel Boone Blngley In "The Governor of Kentucky' the original Joe, the cowboy. In "The Cowboy and the Lady." the orig inal Joe Veinon. the blacksmith. In ''In Mizzouri," and the original Colonel Mo- berly in "Alatama." Last season he played Pudd'nhead "Wilson In the play of that nam?, succeeding the late Edwin Mayo, who followed his father, Frank Mayo, in this role. HE TAKES THE BUNS. Theater Party Badly Rattles Door keeper Henry Ilclnsco. A theater party at the Alcazar Intro duced a new wrinkle the other night and had Doorkeeper Henry Belasco so badly rallied for a few minutes that some small boys managed to slip past him before he couM recover himself. There- were about 20 young folks in the party. They floated I out of a string of hacks and alighted upon Belasco with a deafening rustle of silk skirts and dazzling display of glistening white shirt fronts. The first of the crowd to Teach the genial Henry thrust a biscuit into his out stretched hand and brushed by him into the theater. Before the astonished ticket- taker could recover from surprise suf ficiently to speak, he bad a great assort ment of biscuits and buns, enough to start a small bakery. "B b b but where's the tickets," he finally managed to stammer. "Why. inside the buns," was the laugh ing reply of the last man, as he slipped usto the door. And so it proved. There was a big crowd at the gate, but they all had to wait till the discomfited doorkeep er had broken open all the buns and ex tracted from them the tickets., San Fran- oisoo Dramatic Review. CliEMENT SCOTT'S VIEWS. Famous English Critic Praises Oar Dramatic Product Ions. Clement Scott, the much dflscussed theat rical writer. In a recent article, cLscusses the difference between the American and English stage, and In conclusion touches upon the subject of' stags production in these words: "I must give the American stage, at least, the credit for this fact, that I have never yet seen an actor or actress take such a liberty 'with an audi ence as to be imperfect when the play is actually produced. Nervous tijey must be that Is human nature but they are aware of the responslbiiuy of their call ing. "In England, on the other hand, there are scores of actors and actresses who are habitually imperfect In their wcrd3, who not only 'stick' themselves, Jsut cause others who are letter-perfect, to stick also; who ruin the scenes in which they are engaged and jeopardize the prospects j)f the wretched author. 6u,ch splendid fiis -night performances, In regard to sym metry, order, smoothnesj and system, as those I have seen In America, would be almost impossible on a first night in Lon don today. And why? Because In Amer ica you never produce a pa' before it is ready. Unfortunately, -no do." McDoyvell "Weds "Wcnltliy "Widow. William Melbourne McDowell, widower of the late Fanny Davenport, and Mrs. Wllhelmlna Maria Wlltson, a widow of Baltimore, sold to be wealthy, were mar ried, seccetly at Newport News, Va., re cently, the fact that the ceremony had been performed only becoming known the next morning, when the names of the contracting parties were found On the marriage license records of the Clerk of the Corporation Court. The--bride Is said to be a handsome blonde, and 27 years o'd, according to the records while Mr. McDowell's age is given as 41. Mr. and Mrs. McDowell went to New York after the marriage. IIlKh Prnlic for Actor Robcrtx. No qther actor who has appeared on this Coast for many icars. past can ex hibit' a larger or more complimentary budget of criticisms than Horry R. Rob erts received from the Los Angeles press, during-his limited engagement with the Frawley Company, at the Los Angeles Theater. . It adds very much to the value of these favorable notices to reflect that they are , the honest, outspoken opinions of gen- tlemen who know what they are writing about and express their Ideas In Intelll- , gent. Incisive and remarkably correct English. Music and Drama. Timely Thentrlcnl Gnlile. The .passenger department of the South ern Pacific has Issued a well-timed and convenient Pacific Coast Theatrical ' Guide and Booking SHeet. It contains the names of every city and town on the j circuit, with their population; each,thea- ' ter, with namo of manager, dimensions, ' seating capacity, how heated, etc; the I names of the leading hotels and their , rates; names of transfer companies; dis- tance between towns on the circuit, be- : sides much other valuable Information. 1 Kcllnr Next "Week. Kellar.- the clever magician, -will be the attraction at the Marqunm Theater July2, 3 and 4. Since his last visit to Portland he har. added many new tricks to his already extensive repertoire and his performance Is now regarded by many us bcinjr little short of 'marvelous. He has long been acknowledged as one of the gi iv test living magicians. First Artist (sir months In Paris) Yes, th Is Etcoad 'Artist (Just arrived) Mod; dlnna let JM ( 1 n ' People's Popular Playhouse The King Pins FLATT & SUTHERLAND t ALL THE LATEST MUSICAL HITS WHAT MAKES THE ACTOR? FRANKLIN SARGET TALKS OF MODERN STAGE ASPIRANTS. PrcBlucnt of New Yorl'n Academy of , Dramatic Arti Point One Road (o Sccceii. There were 24 girls and 15 men in the graduating clas3 of the American Acad emy of the Dramatic Arts this year, and nearly all of the graduates have already signed contracts for next year, but, nat urally, they are not all cut out for stars of the first magnitude. Some of them may fizzle out altogether and drop from the theatrical firmament, but their diplo mas are guarantees of a certain degree of ability and a creditable tmlning, ana they are to have their chance. What the first years of practical stage experience x ill bring out neither teachers nor man agers can tell. "What are fhe chief elements that con tribute to the failure or success of your graduates?" was asked of Franklin Sar gent, president of the school which as pires to be to Ihe American stage what the Conservatoire Is to the French stage. "That's a comprehensive question.' Mr. Sargent replied, "but I should say that, given fair physical and mental en dowment, success depends very largely on the presence or absence of that Inde scribable something called personality, and on a capacity or lack of capacity for hard and ambitious work. Beauty Is a valuable thlnS? for an actress, but It does ..got count" for a3 much as It did in the old days. Look at the most famous ac tresses today and see hew many of them are beautiful. Good lopks may get a girl a place on the legitimate stage, but It will not keep the place for her, and It wlir not carry her to pronounced success. "When Mary Anderson came out she took 10 lessons and then was put on In 'Parthenia and that sort of thing. She created a furore, but If she were a de butante today she couldn't repeat the ex perience. Only a short time ago a young woman called upon one of our New York managers. She was stunning, with a face and figure and personality even more charming than Mary Anderson's. The manager was delighted, enthusiastic, promised her great thlng3 and told her she must come up here and put In two years of hard study. She wouldn't have It. couldn't do It- Finally, rather than lose her, he agreed to six months' of work at high pressure. She Is working desperately hard and doing well. New and Old Requirements. "There's the difference between the new stage requirements and the old. The public, the critics and the managers demand a higher grade of work and greater intelligence in the actor, and dramatic training Is a very different thing from what It vas even 10 yeara ago. "We can mark the change plainly in the alterations" we have been obliged to make In our methods. Sixteen years ago our instructors, were mere mechan ics, teaching conventional dramatic tech nique. Now we need Instructors of high er equipment and ability. The methods of work are much1 deeper, standards of Intelligent study are higher. The old Im itative and perfunctory system Is swept away and we have a system based on logic and reason, founded onthe great principles of physiology, psychology and esthetics. "For example, look at the study of old- QU0I7 Is the best thins I've done. that discourage yo I Punch - CORDRAY'S THEATER Week Commencing Sunday, June 24 1 THE VERY LATEST MUSICAL FARCE COMEDY ASP RING The Limit In Laughter All Top Liners.... BURT FLATT ROSE SUTHERLAND HARRY LE COMPE ED KI3IBALL REGULAR age characters. The student doesn't merely imitate the old person he sees. He Is taught 'the physiological effects of age, the change in contour of the head apd face, the forms of the bones that become prominent, the lines that result, the re lation of the bones and muscles, the ef fect of age upon the muscles of the upper middle, and lower face, upon the voice, upon the mental characteristics, upon the whole anatomy of the body, the walk, the poise, the hand. With a phy siological and psychological understand ing of the results of age, the student can work out intelligent and original Inter pretations of such rules. "Then there are the life study classes. The pupils are required to select inci dents from real life, street scenes, etc.. and to give. In the classroom, the action, gestures, tones. motives, contrasts, pathos, humor of perhaps half a dozen persons concerned in the episode. Such study develops a literary as well as a dramatic faculty, and Its results arc tremendously beneficial; but nothing of the kind was ever attempted in the old days. The theory and laws of color are studied along lines strictly scientific "The study of dramatic literature Is analytical and philosophical. The phil osophy and history of costume are thor oughly taught. You see there Is a phil osophical current under the whole course of dramatic training, and the modern teaching naturally turns out profession als of broader capacity, higher Intelli gence and finer Ideals. "The effect of the new standards can already be s.een. The managers say that one or two actors or actresses of the new type, who study Intelligently and have high standards of thought and cul ture, can leaven the whole tone of a company. Our best professionals have always gained through their own efforts helr force and. breadth; but the younger men and women now are starting in upon the profession with what a few of their elders learned through hard experience and many lost years." "Do you have many applicants?" Ru-h of Applicant'. "The number of young people who want to go on the stage Is simply appalling. I always say that this school of ours confers a greater favor upon the public by the number of persons It keeps otc the stage than by the number it puts on. We have anywhere from S0CO to 4000 applications every year, most of them by correspondence; and out of that num ber we may take a possible 75. There are four times as many women as men among them who apply, and 95 per cent of them have no more aptitude for stage work than they have for Sanscrit. "We send each applicant a long list of questions to be answered; and, by the facts given in the answers and by the style of the answers, wc can size up the individuals fairly well. Most of them we drop at once, advising them to give up all thought of the stage. Those to whom we give a personal examination are carefully studied; and, unless -ne believe they have real dramatic possi bilities, we decline to take them, and discourage their stage mania. "Physical qualifications and intelligence cut a figure, of course, but something more than that Is needed, 'and the mo tives that move an applicant to study for the stage are an Important clew' to fitness. " 'When did youflrst think of this?' l ask. If a girl says, "Last year, or two years ago,' that usually settles "it; but if she says, 'I've always thought about it and wanted to act," I ask her when she began to do anything toward it. If she has any real talent, she has probably been trying to act for her own amuse ment, going home from the theater and trying the scenes in her own room. etc. It's an Interesting thing that it is almost always at 13 that she has first started in on experiments of that kind." "Ought students to begin regular dra matic study early?" asked the reporter. "The earlier the better. Child training would be a good thing, If the right, nat ural methods could be pursued and no artificiality Instilled into the child nature: but. since that seems practically Impos sible now. It i3 at least desirable that students should begin work at 17 or IS. Comparatively few of our pupils are so young as that. The age average among the "men is 22, and among the women 23, but we have pupils of IS and others Vho are from 20 to years old.' The student of 40 Is barred from some roles, but there Is always a demand for good old women and old men on the stage. An Example. "A most charming, white-haired old lady came In to see me the other day. and I advised her strongly to study for the stage. She has a delightful person ality and two years' or even one year's work would fit her to make & good liv ing. There's no other profession In which you get the value of what you do so quickly and so liberally as you do on the stage. , , "The greatest number of our girls come from the "West, but the greatest amount of talent is shown by the Southern pu pils. They are, as a rule, pretty, have charming manners and sweet voices, and then they usually have temperament. That Is the keynote of success. The Southern girls have feelings, fire, Imag ination, a certain warmth of sympathy that tells with an audience every time. They have the talent, but they often fail from sheer laziness. They do not often work as hard as the Northern or Western girl; and. In the Jong run, industry and pluck telL "The reason half the promising young actresses and actors fall to achieve real success is that they -will not work. They get discouraged if things do not come their way at once. They aren't -patient or plucky. They lose their grip on high er standards, slip into carelesa work, do not develop. The women and men who succeed are working, studying, broaden ing every day. and employing their leis ure hours In that way. I could point out the men and women of real dramat-c tnTifHnir nnr! nrnvp to vnu that thev are all working like Trojans. They don't get nn nt nnnti fiTirl Tool awav inn airemoon and then fool away half the night, after theater Is over. Not much. "T rpmpmhpr vtrs nirn- irnincr behind the scenes with Mr. Frohman and asking where a young gin was wno naa a minor part in the play. The old stagers all laiiErhpd and said s.he -was in her dress- ing-xoom grinding away at something tnat sne never naa time ior any tun, even between acts, but shut herself uu and studied Shakespeare. They thought she John F. Cordray Manager Saturday Matlnca CH HARRV ARMSTRONG 2IABEL CASEDY ADAH SKER3IAN GUSTAVE H. ICLINE PRICES il was a fool. Today she Is one of the most successful actresses on the Amer ican stage, and it was sheer grit and work, not natural talent, that did It. La ziness has ruined hosts of actors and actresses of talent. They either quit tho work altogether by way of marrlago usually. In the women's case or elso they drift down lower and lower, by de grees, and the tide sweeps on and leaves them. One must keep up with the dra matic procession today, or go under. Different Sort of Applicants. "The character of our applicants la gradually changing. The improvement in the tone of the profession and the broad ening of social Ideas account for it, I suppose. We get boys and girls from tho best families, and a great many college graduates of both sexes come to us. It's a funny thing though that we seldom find our remarkably gifted pupils among that class. They do well In the modern society play or light romantic drama; but for real emotion, high tragedy, pathos, humor, the prize goes to pupils from the lowest classes. "I fancy it is because. In that social stratum, instinct counts for more than education. Emotions are primitive, and tho lower classes don't hesitate to ex press them in pritnltive fashion. In the upper crust of society, the gospel of re pression, has been preached for so long that every one Is. incased in a hereditary and acquired shell of good breeding, and we have a terrible time chipping oft enough of the shell to let emotion and sentiment leak through. "I'll tell jou the hardest proposition in theatrical training a Quaker pupil. He may have talent and pluck, but he has to slough off all his nature, education and traditions before he can express nat ural feelings unreservedly. For the last two years our highest honors have been carried off by pupils from the lower East Side. That proes just what I've been sajing. The students brought us tem perament and fire, but had no mental discipline. "We can furnish mental train ing, but we couldn't have furnished the dramatic Instinct and temperament. A good many of our swcller pupils bring us what we could supply, and haven't the necessary elements that we can't supply. "Mixed blood produces good dramatic possibilities, and a dash of Hebrew is especially valuable. The Hebrew temper ament Is essentially dramatic. In fact, almost all races are more gifted dramat ically than are the Anglo-Saxons. Our prize pupil two years ago was a Hun garian, and we had a girl who was a com pound of Hebrew. French and Spanish, who was a wonder full of fire to her finger tips. "Women are easier to work with than men quicker, more apt. The men seem less responsive; but, in the long run, I believe more of our men are definitely successful than of our women. A good comedienne Is the hardest thing In the dramatic world to find. In fact, high class comedy is out of the reach of most pupils and professionals. So is straight high tragedy, for that matter. Eccentric character work is the easiest thing in tho profession, and melodrama comes easily, too. If a pupil shows a tenden cy to exaggerated melodrama, at first, we usually encourage it. to give freedom of expression and unconsciousness. Later tve can refine it. Almost Untenclinble. "One thing is almost unteachable. There are certain Instinctive tenets ot good breeding, certain attitudes of mind and resultant expression that can't very well be grafted upon an untrained na ture. They are a matter of heritage and early training. That's why so many ac tors and actresses aren't convincing in society plays. They can study the at mosphere of a historical play, and, it they slip up on little things In it. tho audience will not know the difference, but a society audience knows what a modern gentleman will do and will not do, and any number of clever actors fall, lamentably, when they try to Interpret an ordinary, well-bred modern gentle man. If they haven't the Instincts In themselves, they slip up in a multitude of little ways. "We have a great many ugly duckling episodes. I have even dropped girls at the end of their junior year, because I thought them hopeless, and have seen them blossom out Into stars; and I have, grudgingly graduated pupils, thinking they never would amount to much, who met with lucky opportunities and achleyed big reputations. It's a good deal of a speculation. A number of our pupils are succeeding famously, not so much through dramatic talent as througff an Infinite capacity for diplomacy and handling their own business Interests. Others succeed because they have sense enough to recognize their limitations and devote all their energies to perfecting themselves within those limitations. Oh, the times we have persuading girls who want to be Juliets that they really have not any special gift save for old woman character roles, but could do very well In that line! And the times we have convincing undersized men that they won't do for Orlandos and D'Artagnans, but will make fairly good French waiters and valets! "By the way, lack of physique is the greatest handicap among young actors. A very large proportion of our men pu pils are small, and It counts against them, but It gives the few big, fine-looking fellows a good chance, even if they haven't brains they meet so little com petition." New York Sun. Mnilc at the Portljn.l Toulisht. March "Sweeheart" Pryor Entre-acte "The Lily" Bendlx Scenes from "The Beggar Student". Mlllockeir GaA otte "L'Ingemue" ArdlttI Waltzes "Tout Paris" Waldteufei Two-step "The Man Behind the Gun" Sousa Overture "Poet and Peasant" Suppe Idylte "Narcissus" Nevln Waltzes "Village Swallows" Strauss Scenes from "II Trovatore" Verdi Piece de salon "Wag Tail" Elfcnberg Cake-walk "Hannah's Promenade" Stone Charles L. Brown, director. Ripening- in tlie San. A recent poetical effort of one of th? colored brethren from Southwest Georgia reads: "De Georgy watermelon's Glttln happy in de sun. En de white man he won't ketch mo "Whilst I got legs to run!" AtlantaConstJtutloa. ICKEN DTI 1 02.0