THE SUNDAY OREGQNIAN, PORTLAND, NOVEMBER , 22, 1903.
19
NEW YORK WOMEN VICTIMS OF MOB FRENZY
Emily Frances Bauer Vrites o the Psychology of Crowds Zangwill Will
i t : : Go on the Si c W Edouaxd Colonne as a Conductor. : : : :
NEW YORK, Nov. 16. (Special corre
spondence.) An occurrence which
hardly comes under the head of
music or drama, still formed one
of the most dramatic situations in the
story of woman In New York. It
must be stated primarily that prob
ably nothing hps ever occurred which
has made the other women more thor
oughly ashamed of their sex and more
pricved that such an untoward thing could
have happened. This was the action of
the mob of women in their eagerness to
witness something of the nuptials of Miss
Goelet to the Duke of Roxeburghe. The
church was fairly mobbed. Well-dressed
women crawled into the coal bins, lay
under the pews, and conducted themselves
In such inexplicable manner that the
whole matter became nothing but a psy
chological problem.
Where these women were blamable was
that they left their homes and came to
the scene of action through maudlin curi
osity, or hero-worship, as the case may
have been. For this and for this alone
they were responsible. For what hap
pened afterward I believe that any one
who understands metaphysics or psychol
ogy will agree with me in the statement
that they were not responsible- There
Is an insanity that is born of super
excitement In large crowds, especially in
such crowds where people are in bodily
contact with one another call this elec
tric currents, animal magnetism, the
power of suggestion or what you will. In
extreme cases it creates hysteria to the
degree of insanity. No one who "knew
what hanoened could believe that those
women were sane, "and that they were
conscious of what they were doing. The
women who tried to crawl to such a point
that they might look through the registers
and ventilators could certainly have had
no control of their own actions. They
were borne along physically. If not men
tally, by the prrssure of the croWd be
hind and around them, and from physical
contact It is a short distance to a mental
one. If, Indeed, the mental force be not
the stronger of the two.
The women involved In this scandal
were not from the slums, but they were
extremely well-dressed women from every
run of life.
There It a strong 'analogy between this
hysterical condition and those emotions
which we know as enthusiasm, religious
or patriotic fervor, and genuine admira
tion of the highest ideals in anything;
whether life or art. To the public In gen;
era!, to the unthinking, or to those who
will not accept the truth of a super
physical force, it Is hardly possible to ex
plain this. Even Dewey could not under
stand the revulsion of feeling which the
American people seemed to show him
after the wild manifestations which fhey
offered when he returned laden with hon
ors and glory. But Dewey mistook their
hysterical manifestations of what was
founded on true patriotism and enthusi
asm, for the thing itself. Instead of this
It was the outburst of mingled emotions
partly due to relaxation from the terrible
strain through which the whole nation
had passed, making each Individual more
sensitive to the suggestions of his neigh
bors In the Immense crowds which greeted
him, in every city through which he
passed. I witnessed this in Boston, calmly
and thoughtfully, and then made my first
acquaintance with what could not be con
strued as anything but crowd insanity.
In the face of mounted police riding mad
dened horses animals which seemed as
much affected "by the mental disturbance
as were the human beings, people flung
themselves dlngin? to both rider and
horse, perfectly oblivious of danger,
cause, or consequence. All this was no
tribute to Dewey. It was the same thing
which carried crowds of. olden days before
the power of tyrannical monarchs, who
depended upon their ability to arouse the
emotions of an unthinking and Ignorant
populace. This unbalanced condition is
due to a lack of intellectual development,
but more than this to a lack of eplrlt
uallty that quality which is more than
intellect because an overdeveloped Intel
lect Is not far from hysteria; and the
spiritual element is that which holds the
balance true between the Intellectual na
ture and the animal, of which last, phys
ical emotion is the strongest expression.
It is only necessary to mention In pass
ing the example of religious hysteria, of
which the revival meeting is a recognized
type. But this Is not religious fervor
such as that which led" Jeanne D'Arc to
the accomplishment of her noble purpose.
It was with her pure spirituality; put that
Influence .which she. exerted upon her blind
followers produced that overflow of emo
tion which was based upon the truth she
felt, but which they were Incapable of
sharing except in a physical sense.
And now we come to art and its in
fluence upon the emotions of the public,
and it must not be forgotten that the pub
lic comprises a few capable of genuine
appreciation and admiration, and a large
proportion of those open to receive any
Impressions that wiJI work upon the emo
tions. As in the case of Jeanne d'Arc, who
swayed her thousands because her pur
pose was so high that all self and per
sonality were sunk In the presence of the
magnitude and nobility of the work be
fore her, so the true artist accomplishes
the noblest things In art because he works
for that which is intlnltely much greater
than .himself or his own Interests. It Is
only such devotion to an object that
makes a person powerful enough to use it
as a means to sway great bodies, and
among those who pass under its influence
there will be comparatively few who will
appreciate with the highest faculties
or, io be more exact from the spiritual
side. The greater the spiritual develop
ment the less will be the physical demon
stration, for all emotions must show
the calming influence of a highly spirit
ual nature.
But how about the larger proportion?
These are swayed by that same Intensity
of purpose, but they are touched on the
side of sensation and physical emotion,
which is only remotely related to genuine
art. The subject lies temptingly before
me, but time and space, which "wait for
no man," prevent a broader treatment
of it at present. In conclusion. It would
seem that the educating of the public to
the appreciation of art does not He so
much In giving them the best as it does
In developing the spiritual sense which in
turn will carry its influence to the Intel
lect and through that to the control of
the emotions.
The news Just comes that Zangwill is to
go on the stage. Both men and women
have felt before now called to that voca
tion, and it did not mean much else
but the following of a desire, or the de
velopment of a talent. But when Zang
will, that remarkable personality, that
-wonderful philanthropist, makes a move
of this sort it carries a meaning far be
yond what" we are privileged to see on
the face of It. Physically, Zangwill is
not the type of man to become a matinee
Idol, but he has that in him which, well
directed, would accomplish blood-stirring
things. This Zangwill himself knows bet
ter than anyone else", for he has never
put his pen to a. sheet of- paper that it
was not done to plead for some phase of
suffering humanity. It is safe to believe
that Zangwill feels within himself a pow
er that lie has not been able to exert
through the pen, and he Is taking this
means of doing something still greater
for philanthropy.
It Is evident that in ZangwIH's mind
$he stage is the great teacher or the
bench from which to plead the cause of
humanity. It Is such men that can make
the stage a noble vehicle .upon which to
carry noble thoughts, and in the very
personality of the man. in addition to his
singleness of purpose, lies a power which,
while It Is Immeasurable, is perfectly con
vincing. In a word, we may understand
that ZangwIH's purpose is in the first
place philanthropy, secondly philanthropy,
and last and for all time, philanthropy.
Colonne ftVlth the Philharmonic Or
chestra.
The first pair of concerts of the Phil
harmonic Society occurred November 13
and 14, according to the custom of giving
on Friday afternoon what is termed a
public rehearsal of the same programme
that is played on Saturday night
As has been stated before the plan of
this society has been to engage seven
conductors, the most prominent available
in Europe for the coming season. The
first to appear was Edouard Colonne, one
ot the most noted figures In the music of
France. There have been many Ger
mans, but this was the first 'Frenchman
that we have been privileged to hsar.
That I could form a more definite opinion
of his characteristics as conductor, 1
stole in upon a private rehearsal. I Jim
free to say that I was not permitted to
Vemaln, but I was there at least three-
quarters ui an nour Deiore I was ats
covered. During this time it gave me the
opportunity to form an acquaintance
with the characteristics of this truly great
musician, and it may be more interesting
to the reading public to know how he got
the result, than to hear the same sory
that has been Aold many times and will
be told still ortener before the close of
the present season.
First Of his appearance and person
ality, in which there is little to awaken
the sentiment nf tho frtilv rnmnntlo Wo
Is Intensely healthy, and wears a heavy
beard. In fact, he resembles very
strongly that other great Frenchman,
R&oul Pugno. He Is elderly, but not old,
and If he Is temperamental and, mind
you, he Is very temperamental there Is
nothing that would remind one of "the
excitable Frenchman," that people are
likely to think of when the word tempera
ment is mentioned, especially In one of
that country. His English was very
labored, but between the three languages,
since a large proportion of the orchestra
is German, he managed to make himself
understood, and when language failed
him he resorted to singing each part of
the orchestral composition.
First It was the harp which he stopped
to urge the necessity of accent four times
In a measure. Five times he went over
the same thing, started the orchestra
again and finally sang the part with the
harp, that there could be no possibility of
doing other than as he desired. The next
time he stopped the orchestra was be
cause the body of violins did not drop
from loud to soft with the proper ap
preciation of shading. This was gone
over at least eight times, Colonne dem
onstrating with vocal organs, hands, eyes
and head just how that must be done.
This accomplished they started all over
again, when a sudden whoop and a swoop
of the baton brought the music to a close.
"One Instrument is out of tune! It is a
horn." Each horn blew his blast to prove
it was not he, but without an Instant's
hesitation Colonne pointed his finger,
which said more forcibly than words,
"Thou art the man!" In a word Colonne
Is one of the'greatest disciplinarians that
It is possible to conceive. Nothing is too
trivial for him to stop the' entire work
to correct. The result was startling, for
the orchestra at the concert played with a
finish and a decision which was quite out
of the ordinary, as far as this body is
concerned.
The most remarkable work of this great
Frenchman was the presentation of the
Symphony Fantastlque of Berloiz. It
will be remembered that this Is the cen
tenary of that great French writer, who
in brilliancy of color and daring in or
chestral effects has never been surpassed.
Berlioz was born in 1803, and was the first
of that tremendous era which culminated
In 1813 with the birth of Wagner. During
that period think what was born Into the
world of music! Mendelssohn,, Schumann,
Chopin, Liszt and Wagner. Berlioz was
a more marvelous product than was the
German, for he antedated Wagner In
many things for which he had no prece
dent. However, to return to Colonne, the way
In which he conducted this was dazzling
and bewildering. Without a score, and
with a sweep that was majestic in Its
fullest sense, he accomplished something
that will never be forgotten by those who
heard him upon this occasion.
Jacques Thibault was the soloist, and
played the Lalo Concerto, and rounded
out the national color of the programme,
as both violinist and composition are gifts
of "La Belle France."
EMILIE FRANCES BAUER.
STORIES OF THE STAGE.
There wan quite an amusing mix-up In the
atrical matters at Tacoma, recently, between
the companies playing "In Old Kentucky" and
"At the Old CrOFs Roads," the same nlsht.
The scenery for the two shows left the cars
In charge of the transfer company employes,
and both stage managers were congratulating
themselves upon things being O. K. when at
7:45 o'clock the stajre manager of "At the
Old Cross Roads" company shouted: "Good
heavens! "We have placed our sncry In the
wrong theater." . The stage carpenter of the
show had never played In Tacoma before, and,
thinking there was but .one theater, ordered
the driver to go to the Taooma Theater with
j the scenery. When it arrived there It was at
pnee unloaded, and the stage hands began to
! hang it for the night's performance. The
t driver of tJje wagon carrying the -01d Ken-
Itucky" scenery saw the other wagon turn
intol the Tacoma, so he naturally drove his
wagon to the Lyceum stage, and unloaded the
scenery and It v. as set up there.and the stage
hands went to dinner. No thought of a mis
take ever entered their minds. It was between
7 and S o'clock that Rod Wagroner. of "At
the Old Cross Roads" production, walked into
the theater ajd. picking up a programme,
discovered that it gave a cast of the "In Old
Kentucky" show. The stage hands were im
mediately notified, the transfer responded to a
quick call, and the scenery and baggage trans
ferred, and the shows went on Just the same
with the exception of a little hustling on the
part of the stage employes. The actors were
forced to walk from one theater to the other
In their make-up and stage dress.
Mrs. Langtry believes that it Is much harder
for an actress to move her audiences nowadays
than It was in the early days of the stage.
"I have been vers much Interested." she de
clared, "In reading about the great emotional
power of Sarah Slddons. Every one knpws the
stories of the effect she produced. Her audi
ences lost all command over themselves and
sobbed, moaned and even howled with emo
tion. She sould sometimes scarcely be heard.
so loud were the lamentations of the pit. A
Scotch poet described the effect at the Royalty
Theater, Edinburgh, In 178:
" 'From all sides of the- house, hark! tho cry,
how It swells.
While the boxe are torn with most heart
plerclng yells!'
"Toung ladles uscjl suddenly to shriek, going
off as though they had been stuffed with de
tonating powder: men were carried out gibber
ing with hysterics. Fashionable physicians
attended the theater with the expectation of
being amply occupied throughout the close of
the performance. Madame de Stael has given
a celebrated description of Mr. Slddon's fren
zied laugh In the laxt act of "The Fatal Mar
riage,' a sound which waa always the sign for
general swooning and moaning. All this ap
pears very odd to us, and may In nart, no
doubt, be attributed to an emotional habit of
the times: but at least it was the expression
of highly Intoxicating popularity and less than
Justice has surely been done to the manner in
which the great actress received her plaudits."
Chonnlng Pollock, who booms the William
A. Brady enterprises in general and Grace
George In particular, resides In a New York
apartment-house, which was recently seriously
endangered by a. fire in the adjoining Church
of the Archangel. Pollock was awakened from
a sleep that may or may not have bten the
sleep of the Just by the rattle of the engines,
and found the hallway of his apartments filled
with smoke. The smoke was pouring In through
an open door leading to a fire escape, and.
without knowing how serious the blase might
be, he ran to close the door. As he did so
a much'sooted young man fell into his pres
ence. The jrouwr man rose, and the glare
of the flames showed hlrn to be a reporter en
a weekly paper published In Harlem. Each
gazed at the other an Instant, and then, first
expelling the emoke from his lungs, the in
truder said:
"Say, I ran that picture of Grace George
In the paper thin morning."
"Good," replied Pollock. Got a copy with
you?"
"Sure thing," responded the other man,
pulling one out of his pocket. The two ex
amined the cut carefully. It was a large cut
and showed up beautifully.
"Thanks awfully," observed Mr.. Pollock.
"Now, let's go down and see bow bad the
fire Is."
And they went.
Wilton Lackaye, recently wfth Amelia Bing
ham's company. Is famous for the aptness
and originality of his conversation. He was
touring the South some seasons ago In the
J play with which he tried to follow his Sven
J gall success. It was called "Dr. Belgraff."
i and dealt In a melodramatic way with the
power or hypnotism, but was not sufficiently
potent in this respect to attract very large
audiences. In an Alabama town a climax was
reached when the local manager dropped back
of the star's dressing-room to tell him that
It was the mot fashionable audience he had
ever seen in the theater. The audience, nu
merically speaking, was about eight strong,
and Lackaye was heard, to whisper that be
did not care if they were coalheavers. If the
house had only been filled. However, he
would have his joke at any erpense. and dur
ing the next scene. In which Dr. Belgraff Is
alone In his office, the veteran, Joseph Allen
entered, and. reading hli introductory line,
looked at Lackaye and Inquired:
"Are we alone?"
Lackaje. with one quick glance at the en
tire audience, nodded his head, and Teplled:
"Yes, comparatively alone."
"I must wear more Impressive clothes," re
marked Charles Fiohman. "My appearance
lacks distinction that Is. if my; experience at
the door of the Broadway Theater is any guide.
As I was passing, on my way, to n. rehearsal, a
young man, evidently one of the Justly hated
ticket scalpers, touched my elbow and offered
roe a dollar.
""Say, he mumbled, "do roe in little favor,
will you? Go up to the box office and buy me
two 50-cent seats for tonight.'
"I should not have felt so Insulted." con
cluded Mr. Frohman. "were it riot that I as
pire to look like a man who might safely en
gage a box or at least an orchestra chair with
out exciting suspicion."
Charles Warner, the English actor appearing
In Charles Reade's melodrama "Drink," tells
the following on himself.
"A few nights after I reached XcW York I
asked a chap to have a drink. He replied, "I
am on the water wagon.' 'On the what?' I
asked. He explained, and I thought It a good
one. and resolved to spring It Immediately.
"Two days later I met Mr. Hawtry, and he
asked roe to Join him In a high ball. 'Sorry,
old fellow,' I said, 'but I'm on the washtub,
don't you know? Now, can you explain why
Hawtry didn't laugh?"
Richard MaiuRcld, In the final scene of "A
Parisian Romance." as Baron Chevrlal, falls
dead at supper, amid the talking and music
The doctor in the play calls out, "Stop the
music! The Baron Is dead!" and the curtain
falls. On one Occasion Mansfield was playing
a one-night' stand in a small country town,
where the "music of the local orchestra was
atrocious. At the supper scenp Mansfield fell
dead as usual, but the actor who was playing
the part of the doctor criea out: "Stop the
music! It has killed tho Baron!"
William Norrls, the clever comedian In
"Babes In Toyland," tells or a woman who
went to a spiritualistic seance and was told
by the medium that the spirit of her first
husband wanted to .commune With her. "He
feels very badly." said the medium, "because
you have married again." "But how did he
learn about It?" demanded the wife. "I
thought marriage were made In heaven."
THE BAKER THEATER
GEO. L- BAKER, Sole Lessee and Manager. Thone Main 1907.
THE FASHIONABLE POPULAR PRICE PLAY HOUSE fc
ONE
STARTING SUNDAY MATINEE, NOV. 22
MR. GEORGE L. BAKER ANNOUNCES
FOR THE THIRD WEEK OF THE BAKER THEATER COMPANY.
WILLIAM GILLETTE'S GREATEST COMEDY
TOO
MUCH
JOHNSON
MATINEES
SATURDAY
- AND
SUNDAY
NEXT WEEK JIM THE PENMAN
CORDRAY'S TM eater
Cordray & Russell, Managers Phone Main 932
COMMENCING MATINEE
TODAY, SUNDAY, NOVEMBER-22
and Sunday, Monday, Tuesday and Wednesday Nights
Nothing But Bank Notes, Gold and Laughter
Elmer Walter's Latest Scenic Sensation
A Millionaire
Tramp
Nothing
Like It
Ever
Presented
fc p: IP" The Great CHURCH SCENE The OLD HOTEL
C3l 1 The Country Opera House The Village Depot.
HP A 3 The Choir of the Church of the Holy Cross
I -.S The Song of the Christmas Revelers.
6
Prices Matinee: Adults, 25c; Children, 10c.
Evenings: I5c, 25c, 45c, 40c, 50c.
Phone
MAIN . . . . S6S
MONDAY, TUESDAY, WEDNESDAY NIGHTS, NOV. 23-24-25
Special Matinee Wednesday, at 2:15 o'clock
MR
ill lit
PICKWICK
As presented at Herald Square Theater, N". T for 3 months.
HISTORICAL COSTUMES
SCENERY AND GENERAL PROPERTIES
AUGMENTED ORCHESTRA
SELECTED CHORUS
Original Cast Including :V
.Dlgby Bell. Frank H. Belcher, Louis
man. Augustus Colettl. Frank R. Willing, Guy H. Bartlett, George Rolland.
George B. Williams, John Barry, Charles Homan, Marlon Field. Marguerite
Clark, Laura Joyce Bell, Vivia Ogden, Gertrude Taylor, Florlne Murray,
Nellie "Victoria. Felice Robinson.
EVENING PRICES Parquctte, $2.0): SPECIAL WEDNESDAY MATINEE
SSISrY&rSS-SSfi PICES-Parquette. $Lo0; parquetto
rows. 50c Gallery. 25c and SSc. Boxes , circle, $1.00. Balcony, first 6 rows, 75c;
and loges, $12.50. I last 6 rows, 50c Gallery, 25c and 35c.
SEATS ARE NOW SELLING. CARRIAGES AT 10:50 O'CLOCK.
fc
IVIARQUAIVI GRAND THEATER
fc-;
NIGHTS
TWO MATINEES
Dramatized by William xoung-.
THE GREAT CHARIOT RACE IN ACT V. I
THE MOST IMPRESSIVE OF j 1 g TTV tt A 350 PERSONS IN THE GOR- j
ALL STAGE PAGEANTS A IVlI'l-Jll i I T L I GEOUS SPECTACLE 350
t ""& I f I!r C I-OWER FLOOR, first 12 rows $2.50 BAI.COY, first 3 rowB..$2. GAIXERY, resorred ..IBo TP-rrnrcinnq nn All Pail t
1 K Lt LOWER PLOOB, balance 2.00 BALCONY, next 3 row. .1.50 GALLERY admission .U50o iOtUlUUS OU -ill Vdll- I
m- Ky BOX SEATS 300 BAI,CoxY, balance loo roads and Steamboat Lines
SEAT SALE STARTS THURSDAY MORNING, NOVEMBER 26, AT IO O'CLOCK -
Out-of-town orders for seats through the mail or the express offices will be promptly attended to. In the order of their receipt after the regular sale opens
when accompanied by remittance and a self-addressed, stamped envelope for reply In order to avoid all mistakes. State when ordering priced tickets desired and
performances, Applications for seats should be made to CALVIN HEILIG, Manager Marquam Grand Theater, Portland, Or.
WEEK
SPECIAL
DAY
MATINEE
Something
Very
Different
IVIARQUAIVI GRAND THEATER
WOLF HOPPER
AND HIS OPERA COMPANY IN A
MUSICAL PRODUCTION OF CHAS.
DICKENS' MASTERPIECE
Payne. J. K. Adams. George Chap
AND
COMMENCING
KLAW & ERLANGER'S
ya.,
EMPIRE
COR. TWELFTH
I GEO. L. BAKER, RES. MANAGER
A WORD TO THE
ONE WEEK
SUNDAY
Special Holiday Matinee
THE
GREAT
SENSATION
SEE
THE CHINESE SMUGGLERS' LANDING A CARGO
THE HUMAN TOWER OF CHINKS
THE RAID ON AN OPIUM JOINT
THE CHINESE THEATER ON NEW YEAR'S NIGHT
PRICES Night, I5c, 25c, 35c, 50c. Afternoon, 10c, I5c, 25c.
Seats now selling; reserve early. Boxoffice open daily till 10 P. M.
u
CORDRAY'S Theater
Cordraj & Russell. Managers, Phone ilaln 392.
Evnlng Prices, IE, 23, 35. 40 and 50c. JIatinee Prices, adults 25c; children, 10c
I
Special Engagement for One Week, Starting
Thursday (Thanksgiving) Matinee, Nov. 26th
The ever welcome favorite, the best of all SWEDISH DIALECT
COMEDY DRAMA. The same, the refreshing, the merry Swed
ish boy from the hills of the old country.
SHEp1 l.S' fi? &BHKSi3
NELSE ERJCKSGN AS YON
IJi-W Lumberman's Quartette Log
Jam Luxurious Appointments.
THANKSGIVING ATTRACTION
BEGINNING THURSDAY AFTERN00FJ, NOV. 26, 2:15 O'CLOCK
Continuing Thursday, Friday, Saturday Nights
with a Special Matinee Saturday ,
THE BRIGHT MUSICAL COMEDY
THE
S 1 9 !"C ik '
By Richard Carle. Guy F.
MIRTH
The Original Glorious Panoramic Achievement
That Flew on the Merry Wing of Popularity.
22 WEEKS IN CHICAGO
8 WEEKS IN BOSTON
More Melodious than "The Burgomaster," and under the same management.
An Excellent Cast, Gorgeous Costumes, Beautiful Scenery
EVENING PRICES Entire lower floor. 51.50. Balcony, first 3 rows, $1.00;
second 3 rows, 73c; last 6 rows, 50c. Gallery, 25c and 35c. Boxes and loges, 510.
SPECIAL THANKSGIVING AND SATURDAY MATINEE PRICES En
tire lower floor, 51.C0. Balcony, 'first 6 rows. Toe: last 6 rows, 50c. Gallery. 25c
and 35c. The advance sale of seats will open next Tuesday at 10 o'clock A. M.
TUESDAY
EVENING
stupendous pboduotiqn of
THEATER
AND MORRISON
PHONE MAIN 78
WISE IS SUFFICIENT
. STARTING MAIT 11
AFTERNOON llU LL,
Thursday Thanksgiving Day
OF THE
NH
OPIUM
RING
A Favorite With the Girls
A Treat for the Old Folks
Beloved by the Children
A Source of PURE FUN
VV. T. PAN OLE
Res. Manager
Steele and Frederic Chapin,
MELODY
DEC. 1st
gen, wallaoe's
Music by Edgar Stlllman Kelley.
I Ctttt6(Ct(SttteB(((f(S3
AT THE NEW
THEATER
330 Washington Street, Bet.
Sixth and Seventh,
Opposite Imperial Hotel.
FIVE SHOWS DAILY
2:30, 3:30, 7:30, 8:30, 9:30 o
ADMISSION 10 CENTS
The Home of Continuous Vaudeville
Our motto Is: "Hard to get, hard
to hold."
In other words, the more ex
pensive the attraction, the harder
to find room, to hold the folks who
flock to our fesUval.
We send many a message ot
merriment durttig a season, -and we
are going to send a lot of happy
grams between now and next Sun
day night, so be ready to sign for
yours. There will be a bunch wait
ing for you, and
ALL FOR TEN CENTS
This is the time to give thanks,
and every patron of the theater
will do it this week when the
Thanksgiving bill is put on. For
this week's bill we have signed
merry-makers of the top-notch order
and they will be all there, from the
Commander-in-Chief of Fun to the
highly diverting pictures of the
American Bioscope. "We will start
out with
WELLS BROTHERS
Here is an act that will make
you snap your eyelashes. A duo of
comedy acrobats who do amusing
feats, as well a3 singing and danc
ing of a superlative order.'
FOUR BRAGDONS
These candidates for popular fa
vor are sure to win your vote. They
do a comedy sketch, many odd
tricks, and some laughable antics
combined.
Breahn & Mascot
Scintillating skittists. in a hot mix
ture of spicy dialogue, comical In
cidents and droll songs. Here's
where you get a sure return for
value received.
PAUL NEWMAN
"What does he do? "Well, If you
can name a balladlst who can take
first money away from him, we'll
amputate a few wires and give
some grape gas a chance to get In
Its work on you. He sings tunes
that are illustrated.
AMERICAN BIOSCOPE
A new lot of moving pictures will
delight men, women, and children.
ALWAYS SOMETHING
DOING
AT THE NEW ARCADE
Five shows dally, 2:30, 3:30, 7:30,
5:30 and 9:30.
Sow a dime reap a crop of fun.
v
ARCAD