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 STAGE AND SCREEN
 
 ■ Tgp-~. - -r -w — HJMjjt^^ i »^M^,^i^j^;, ' ^, - <j.> g ji; 
 
 1^^^^ — -rrTTPr- 
 
 BOS 
 
 OSTON MUSEUM COMPANY.rYLAll 4 
 
 .il'MfrBar' ■' Til- '■«% I
 
 STAGE AND SCREEN 
 
 BY 
 
 MARION HOWARD BRAZIER 
 
 AUTHOR OF "perpetrations" 
 
 ILLUSTRATED 
 
 M. H. BRAZIER, PUBLISHER 
 
 TRINITY COURT 
 BOSTON ^ MASSACHUSETTS
 
 COPYRIGHT, 1920 BY 
 MARION H. BRAZIER 
 
 All rights reserved 
 
 THE'PLIMP TON -PRESS 
 NORWOGD-MASS-U-S-A
 
 .■?i f 
 
 
 SDeHicateti 
 
 TO THE 
 
 SPOKEN AND SILENT DRAMA 
 
 9 if Ai^ e Jl
 
 "/ think I love and reverence all the arts equally, only putting my 
 otvn just above the others, because in it I recognize the union and 
 culmination oj them all. To me it seems that when God conceived 
 the world, that was poetry; be Jormed it and that was sculpture; be 
 colored it and that was painting; be peopled it with living beings, 
 and that was grand eternal drama." 
 
 Charlotte Cushman
 
 PREFACE 
 
 AT first it may seem inconsistent to begin my 
 little story of plays and players by turning 
 the hourglass back so far. I have endeavored 
 to deal briefly with those "salad days" and to 
 write of some of the players known to me personally 
 or professionally, from the standpoint of the theatre 
 goer since the middle sixties, and not as a critic in 
 any sense. Volumes have been written by abler 
 pens, and wiH be, in the future. These are merely 
 wayside jottings. It is by request of many, whose 
 friendship is dear, that I undertake to put into some 
 semblance of shape my recollections, aided by 
 programs preserved these long years, dating from 
 the early seventies. Doubtless, there are errors of 
 omission — possibly of commission. Much is culled 
 from my platform talk, "Players of Past Genera- 
 tions Now Alive,'* and all is too briefly told. As 
 to screen plays, it is quite impossible to keep pace 
 with them, or foresee where the motion picture in- 
 dustry will lead. Great spectacles are under way;
 
 PREFACE 
 
 SO, in dealing with the subject one feels inclined to 
 say "continued in our next." Many of the oldtime 
 pictures in the stage section were gifts in the long 
 ago. In the preparation of this book, I am indebted 
 to players and producers of motion pictures for their 
 co-operation in trying to brighten what might, 
 otherwise be dull pages. 
 
 The Author 
 
 n6:i
 
 CONTENTS 
 
 THE STAGE 
 
 CHAPTER PAGE 
 
 I. The Boston Museum 1 1 
 
 II. Charlotte Cushman 21 
 
 III. In Loving Memory 25 
 
 IV. William Seymour 34 
 
 V. Some Big Players 38 
 
 VI. Mary Anderson and Others 44 
 
 VII. Big Moments 56 
 
 VIII. Veterans 60 
 
 IX. Stock Companies 64 
 
 X. The Singers 67 
 
 XI. The Amateurs 72 
 
 XII. In Lighter Vein 75 
 
 XIII. A Sum-up 78 
 
 THE PHOTOPLAY 
 
 CHAPTER PAGE 
 
 I. The Silent Drama 83 
 
 II. Stock Companies 90 
 
 III. Notable Plays and Players 94 
 
 ' IV. Screen Characters 105 
 
 V. Grandes Dames and Others no 
 
 VI. Comedians 116 
 
 VII. Great Picture Plays 1 19 
 
 VIII. Why Censorship 122 
 
 IX. Why They Go 127 
 
 X. Where the Camera Goes 1 29 
 
 L?:
 
 ILLUSTRATIONS 
 
 THE STAGE 
 
 FACING 
 
 Boston Museum Company 
 
 (1862) Frontispiece 
 
 Corinne 
 
 Lotta 
 
 Josie Orton 
 
 Miriam O'Leary and Kate 
 
 Ryan 
 
 Lillian Russell at 21 
 
 Fanny Ward at 17 
 
 Charlotte Cushman 
 
 Adelaide Neilson 
 
 Annie Clarke 
 
 Kate Reignolds-Winslow . . . . 
 
 Sarah Bernhardt 
 
 Ellen Terry 
 
 Ida Vernon 
 
 Clara Morris 
 
 May Davenport-Seymour .... 
 
 William Seymour 
 
 Rose Coghlan 
 
 Mary Anderson and Mrs. 
 
 Stirling 
 
 PAGE FACING PAGE 
 
 E. H. Sothern and Julia Mar- 
 lowe 46 
 
 16 Julia Arthur 49 
 
 16 John Craig 58 
 
 16 Ada Oilman 60 
 
 Mrs. Thomas Whiffen 60 
 
 18 Christine Nilssen 62 
 
 1 8 Rachel Noah 62 
 
 18 Maud Granger 62 
 
 24 Edgar L. Davenport 64 
 
 24 Marie Burress 64 
 
 24 Sydney Booth 64 
 
 24 I sabelle Evesson 64 
 
 28 Scene from "The School- 
 28 mistress" at Boston Mu- 
 
 28 seum, October 12, '91 66 
 
 28 Mary Garden 68 
 
 34 Helen E. H. Carter-Wright 70 
 
 34 The Late Mrs. Sol Smith 70 
 
 40 Bertha Wesselhoeft Swift .... 72 
 
 Julian Eltinge 74 
 
 44 
 
 THE PHOTOPLAY 
 
 FACING PAGE 
 
 Elsie Ferguson Facing ba(/tt//e 
 
 Alia Nazimova 84 
 
 Maxine Elliott 86 
 
 Jane Cowl 86 
 
 Mme. Petrova 86 
 
 Nance O'Neil . . . . 
 
 Charles Kent 
 
 George Fawcett. . 
 Frederick Warde . 
 Herbert Standing. 
 
 FACING PAGE 
 
 86 
 
 88 
 
 88 
 
 88 
 
 88 
 
 Cq^
 
 ILLUSTRATIONS 
 
 FACING PAGE 
 
 Alice Brady 90 
 
 Mary Miles Minter 90 
 
 Constance Binney 90 
 
 Wanda Hawley 90 
 
 John Barrymore 92 
 
 Vernon Steele 92 
 
 Wyndham Standing 92 
 
 Thomas Meighan 94 
 
 Enid Bennett 96 
 
 Wallace Reid 98 
 
 Charles Ray 1 00 
 
 Marguerite Clark 100 
 
 Billie Burke 100 
 
 Theodore Roberts 100 
 
 Eugene O'Brien 102 
 
 Bert Lytell 104 
 
 May Allison 104 
 
 Viola Dana 104 
 
 Taylor Holmes 104 
 
 Lillian Gish 106 
 
 FACING PAGE 
 
 Mary Pickford 106 
 
 Alice Joyce 106 
 
 Mae Marsh 106 
 
 Hope Hampton 108 
 
 Anita Stewart no 
 
 Elsie Janis 112 
 
 Madge Kennedy 112 
 
 Elaine Hammerstein 112 
 
 Mabel Normand 112 
 
 Major Robert Warwick 114 
 
 Norma and Constance Tal- 
 
 madge 116 
 
 Doris Kenyon 119 
 
 J. J. Dowling and Betty 
 
 Compson 119 
 
 Rose Tapley 120 
 
 William S. Hart 120 
 
 Lou Tellegen 123 
 
 Geraldine Farrar 123 
 
 CIO]
 
 STAGE AND SCREEN 
 
 I 
 
 THE BOSTON MUSEUM 
 
 CHARLES DICKENS has wisely said "Al- 
 together too many people look at every- 
 thing, seeing nothing." '*I find myself in 
 a world in which there is so much to see, and so 
 short a time to see it in, I must take the trouble 
 to look about me." 
 
 Presumably he was not aiming at excursion parties 
 which invaded Europe before the World War, and 
 went about, Baedekers in hand, giving a sweeping 
 glance at the most glaring things that filled the 
 eye, losing sight of the real gems here and there, 
 particularly in the art galleries. Still his words 
 apply to the average theatre goer of the present 
 generation, who goes to kill time, to see some pet 
 player, because his neighbor goes, or he is dazzled 
 by the shrieking posters along the highways. Any- 
 how he is considerably bored by it all, and some- 
 times slumbers.
 
 STAGE AND SCREEN 
 
 True it is, the stage offers to many a mere form 
 of amusement, not enlightenment, yet most of us 
 feel that the greatest of arts is the dramatic. Some- 
 one has truly said "The drama is the most refined 
 pleasure of a polished people." The fact that many 
 theatres are given over to a portrayal of cheap 
 plays with queer, misleading and suggestive titles 
 does not militate against the power of the drama. 
 No matter how much censure and pessimism may 
 exist, these cannot run down the real drama — not 
 one whit. Whether a play is high brow or low brow 
 it matters little so long as it is human. 
 
 It was my good fortune that some of my early 
 girlhood days were passed in Charlestown, Massa- 
 chusetts, as a neighbor of E. F. Keach and his de- 
 lightful family of young folks, and I thus became 
 a devotee of the old Boston Museum, way back in 
 the sixties when Mr. Keach was manager, and placed 
 it on a high plane far removed from a mere adjunct 
 of a museum for the display of wax figures. When 
 Kate Reignolds received an offer from Mr. Keach 
 to play there she promptly declined, as the name 
 suggested curios and lay figures, but second thought 
 prevailed as shown later on. Back of Mr. Keach, 
 to be exact, in 1843, ^ stock company was estab- 
 lished, and in it the late Adelaide Phillips made 
 
 1:123
 
 THE BOSTON MUSEUM 
 
 her debut at ten in "The Spoiled Child." Quite 
 the most popular actor there then was W. H. Smith, 
 called "Smithy" by his intimates. He was a School 
 street tailor by day, and quite clever. He comes 
 within my recollection in the '6o's — hence mention 
 here. 
 
 The history of this playhouse has been written 
 exhaustively and there is hterally nothing to add, 
 apart from a few personal reminiscences. It was 
 for a decade considered a Boston institution, was 
 patronized by the elect, the so-called Chippendales, 
 the church deacon, and then on, to lovers of the 
 drama generally, including the "Gallery Gods" as 
 the small fry were called at that time. Here, too, 
 babies in arms were admitted. 
 
 In spite of its popularity and prestige we fmd 
 this in an old newspaper (printed in 1853) "The 
 Boston Museum has been outraging decency by re- 
 viving the vulgar negro extravaganza, * Uncle Tom's 
 Cabin.' " Well, there came an evolution in senti- 
 ment, for later on some scribe commented on that 
 early verdict in this way: "The Boston Museum 
 continued to * outrage decency' and otherwise con- 
 duct its affairs, for a remarkable long term of 
 years, and its memory is still fondly if not rever- 
 ently kept by the older Bostonians — those who
 
 STAGE AND SCREEN 
 
 were patrons of what was one of the nation's most 
 famous playhouses." 
 
 As William Seymour declared in his farewell ad- 
 dress delivered at the final curtain June i, 1903, 
 "The record of the Boston Museum is exceptional 
 in the history of the American stage." Farther on 
 he said, "There is hardly a great actor of the two 
 last generations who has not been seen on this 
 stage." He made happy allusion to the Daven- 
 port family (one of whom — May Davenport — 
 he married) when he said "Not only E. L. Daven- 
 port, but his wife, their sons and daughters, and 
 their granddaughter — my own daughter — have all 
 appeared at the Museum." 
 
 Never will I forget that last night when the play 
 *' Mrs. Dane's Defence" was not "the thing" for there 
 were many features not down on the bill. Charles 
 Frohman*s notable company had the honor of closing 
 the house. In it were Margaret Anglin, William 
 Courtleigh, Guy Standing, Oswald Yorke (who 
 married dainty Annie Russell); E. Y. Backus; 
 Sandol Milliken; Ethel Hornick; W. H. Crompton 
 and others. At the close the house rose and with 
 moistened eyes sang "Auld Lang Syne." 
 
 1:143
 
 THE BOSTON MUSEUM 
 
 It was my privilege, after the age of discrimina- 
 tion, to see all the plays at this house, as proven by 
 a complete and cherished collection of programs; 
 the oldest of all tells of **Rosedale'* one of my 
 favorite plays, and seen many times. This was 
 put on in the early '6o's and what a cast! L. R. 
 Shewell; Warren and Vincent (as they were lov- 
 ingly dovetailed) ; Frank Hardenburgh; JosieOrton, 
 Emily Mestayer and Kate Reignolds, the entire 
 strength of the company utilized. This was a 
 popular play, revived often, and played by many. 
 Twenty-five years later on the same stage and at 
 the suggestion of the late R. M. Field who was 
 rounding out his quarter century as manager, "Rose- 
 dale" was given as a tribute to Lester Wallack who 
 created the part of Eliot Grey, with another notable 
 cast, including Annie M. Clarke; C. Leslie Allen; 
 Jack Mason as Grey; George Wilson; Charles 
 Abbe; Miriam O'Leary, Kate Ryan, Fanny Addi- 
 son-Pitt and others. Only five are alive at present. 
 
 Seeing so many plays at this house it is difficult to 
 make selection, yet some linger longest in memory, 
 like the dramatization of the works of Dickens 
 such as "Oliver Twist," "Christmas Carol," "David 
 Copperfield," billed as "Little Em'Iy," and all so 
 well cast. Who will ever forget the Dan and Ham
 
 STAGE AND SCREEN 
 
 Peggotty of Charles Barron and Jack Mason, or the 
 Rosa Dartle of Annie Clarke, the Micawber of 
 Warren and Aunt Betsy Trotwood of Mrs. Vincent. 
 Vividly I recall the first performance of "Pinafore" 
 at this house Nov. 25, '78, with George Wilson as 
 Sir Joseph Porter; Marie Wainwright as Josephine; 
 Lizzie Harold as Buttercup, and buxom Sadie Mar- 
 tinot as Hebe. Then came the Children's Pina- 
 fore with Corinne as Buttercup (as pictured in this 
 book in that character); Ida Mulle as Josephine, 
 and more than fifty little folks in the company. 
 These had long runs everywhere. In '95 "Zip'* 
 was given, Annie Clarke returning to the Museum 
 for this one play, and then came the winding up of 
 the stock company and opening of the combination 
 plan. 
 
 Here I first saw Mme. Modjeska (Countess 
 Bozenta) and ten years later called on her in Cali- 
 fornia on the ranch where she died a few years ago. 
 She was, perhaps, the most celebrated Polish actress 
 to come here, and her art was transcendent. Then 
 came Fanny Davenport whom it was ever a joy to 
 see and hear, also to meet at close range at her 
 seaside home in South Duxbury, Massachusetts, 
 "Melbourne Hall," where she took her guests lov- 
 ingly to an upper room devoted to the memory of
 
 CORINNE 
 
 As "Little Buttercup." 
 
 LOTTA 
 
 JOSIE ORTON
 
 THE BOSTON MUSEUM 
 
 her parents the late E. L. and Mrs. Davenport. 
 Here were treasures indeed, a veritable shrine for 
 the devoted family. Across the way is the home 
 then, and now, of her sister May Davenport- 
 Seymour, who gathers around her the children and 
 grandchildren — but of the Seymours more anon! 
 Debonair Charles Stevenson made his first ap- 
 pearance at the Museum in '73 as Steerforth in 
 "Little Em'Iy," one of the strong suits at this house, 
 and annually revived. He was born in Ireland, 
 graduated from Trinity University, Dubhn, and 
 accompanied the Boucicaults to this country in 
 '72. Later he went to Wallacks and there created 
 the role of the Chevalier in "The Two Orphans," 
 then doubling as Pierre the cripple. For fourteen 
 years he played in that company with Kate Claxton, 
 whom he married in '78. He was lost to the stage 
 for awhile but returned in support of Mrs. Leslie 
 Carter. Theatre goers know of his several years 
 with Belasco, his creation later of the part of Wealth 
 in "Experience" and now we find him on the screen 
 doing commendable work. He was a so-called 
 matinee idol, but what we best recall is his remark- 
 able reading of the lines. Kate Claxton, who also 
 played engagements at the Museum, retired long 
 ago and now resides at Larchmont Manor, New
 
 STAGE AND SCREEN 
 
 York. She first appeared with Lotta in Chicago 
 in 'jo. Later she became a member of Daly*s 
 company, and of the Union Square, where she created 
 the role of Louise in "The Two Orphans," a part 
 singularly fitted to her somewhat pathetic features, 
 her eyes simulating blindness starthngly. She was 
 ably supported from time to time by such eminent 
 players as Mrs. Thomas Barry, Kitty Blanchard, 
 F. F. Mackey, Marie Wilkins, C. Leslie Allen, 
 McKee Rankin, Ida Vernon, Maud Granger, Joe 
 Wheelock, Charles R. Thorne, and Stuart Robson. 
 At the Museum I also saw Mile. Rhea, the sad- 
 faced Eleonora Duse, Lester Wallack, Clara Morris, 
 Salvini, the elder, " Billy " Florence and. wife, 
 Janauschek — there was an actress for you, the 
 nearest approach to Charlotte Cushman the stage 
 has yet produced! Here too I saw John T. Ray- 
 mond, Daly's immortal company and so on, to say 
 nothing of the musical successes put on from time 
 to time and the various combination bookings. 
 This chapter would not be complete without mention 
 of the younger ones who came along in stock in the 
 '70's like Kate Ryan who, in her book "Old Museum 
 Days'* has, in a chatty way, told the story of her 
 co-workers, paying well deserved tributes. Only a 
 few even of that later company are now alive.
 
 MIRIAM O'LEARY and KATE RYAN 
 
 LILLIAN RUSSELL at 21 
 
 FANNY WARD at 17
 
 THE BOSTON MUSEUM 
 
 We Still have Miriam O'Leary of the laughing eyes, 
 whose daughter Miriam Collins is a Broadway suc- 
 cess, and who created the part of Love in "Ex- 
 perience" when William EHiott played Youth, 
 Agnes Acres, a sister retired to domestic hfe years 
 ago, has a son to inherit her gifts in Barton Jenks, 
 conspicuous in Harvard College plays as a student 
 there. 
 
 Then, left to us is George Wilson who succeeded 
 Warren so creditably and who still resides in Boston. 
 Though one of the best comedians in his line, it is of 
 interest to note that he began his career in "Othello" 
 in '77. Many who recall him feel that his biggest 
 hit was as old Macclesfield in "The Guv'ner" and 
 I have never seen it done so well. The late H. M. 
 Pitt and his estimable wife Fanny Addison still in 
 harness were a distinct addition to the company. 
 Then came a younger element in Isabelle Evesson, 
 Maida Craigen, Edgar L. Davenport, the Booth 
 brothers, Emma Sheridan Fry, Marie Burress, the 
 handsome Southern blonde, who so delighted us in 
 Agatha and other plays as leading woman; Bob 
 Edeson, Melbourne MacDowell, Ned Rose, erst- 
 while actor, prompter, stage manager, director, and 
 now author and producer; George Schiller who has 
 a long stage career to his credit beginning at the
 
 STAGE AND SCREEN 
 
 Howard Athenaeum as the eccentric cat in the ex- 
 travanganza "Robinson Crusoe." He is still with 
 us, so is Charlie Abbe. 
 
 One of the plays recalled in '87 is "Tom Jones" 
 camouflaged under the name of "Sophia," which 
 put it over with the intellectuals. It was admirably- 
 done; Charles Barron played Tom; William Sey- 
 mour, Squire Weston; Annie Clarke, Lady Bellas- 
 ton; May Davenport, Molly Seagrim; Isabelle 
 Evesson, Sophia. James Nolan, who married Kate 
 Ryan, Grace Atwell, E. E. Rose and James Bur- 
 roughs were in the cast. Early this year the Jewett 
 Players put the piece on at the Copley Theatre, 
 Boston, as "Tom Jones" and the house was packed 
 with a smart following, though they do say that 
 dear old Tom was distinctly purified by Buchanan 
 in the stage version. 
 
 n2o3
 
 II 
 
 CHARLOTTE CUSHMAN 
 
 FOREMOST among actresses to impress me in 
 early girlhood days was Charlotte Cushman 
 whose personality and art can never be 
 effaced from memory. Authors and writers generally 
 have told her story and told it well. Boston born, 
 with the blood of the early Pilgrims in her veins, she 
 was **to the manner born," divinely gifted, and be- 
 came the greatest tragedienne of her generation. 
 Three characteristics were hers, the power of con- 
 centration, perseverance and indomitable courage. 
 In later years she developed the force and cultiva- 
 tion of mind over matter knowing that she had an 
 incurable malady. 
 
 Charlotte Cushman lacked what is called personal 
 charm, yet held full sway over the hearts and emo- 
 tions of all within the sound of her rich contralto 
 voice. It was my privilege to meet her face to face 
 in her dressing room, taken there by a mutual 
 friend. It was then I heard the story of why she 
 
 C213
 
 STAGE AND SCREEN 
 
 never married — rather of her one romance in life 
 which, strange to say, has not to my knowledge 
 been pubhshed. It was truly a tragedy or an "es- 
 cape," according to one's point of view, and it does 
 not seem in keeping to go into the details. The fact 
 is, she was enamored of her leading man, Conrad 
 Clark, whose duplicity was discovered one evening 
 in a dramatic manner behind the scenes. It was a 
 case of the eternal triangle of life, and we can well 
 imagine with what majesty she dismissed him from 
 her presence. The expose came during the play, 
 but Miss Cushman went through her part, as Queen 
 Catherine, to the curtain. Then at the close, she 
 sent for him for the final word. Thus ended her first 
 and only romance! As to her acting there was little 
 difference of opinion even among the critics, for she 
 held all spellbound. As Meg Merrilies she reached 
 high water mark, and no one with the possible ex- 
 ception of Janauschek (so like her physically) has 
 equalled her. Mary Anderson tried it, but could not 
 get into the character, or conceal her good looks 
 sufficiently. It is of interest to know here that the 
 play "Guy Mannering," which emphasized the 
 character of Meg, was written by an uncle of Ellen 
 Terry and first produced in London. He and the 
 author of the book were intimate friends. Then 
 
 n223
 
 CHARLOTTE CUSHMAN 
 
 Dion Boucicault got hold of it, adapted some in- 
 cidents in the novel, and moved it to Ireland with an 
 Irish name. It must not be forgotten that Agnes 
 Booth gave us a taste of her versatihty in a Meg 
 not easily forgotten, but few have ventured to as- 
 sume the role except for a hmited engagement. 
 
 Charlotte Cushman's large physique and deep 
 voice fitted her for male roles in which she excelled 
 like those of Romeo, Hamlet, Cardinal Wolsey and 
 Claude Melnotte. Her work was far from crude, 
 and compared favorably with many male Hamlets 
 and the* like. She led a long useful hfe and left a 
 rich inheritance among true lovers of the drama. 
 It was my privilege to witness her last performance 
 in Boston at the Globe theatre in '74 when she played 
 Lady Macbeth, supported by D. W. Waller and a 
 strong company, all gone from our midst. Just 
 previously, she appeared in a series of farewell per- 
 formances in New York, closing in the same play 
 supported by George VandenhofF and Frederick 
 Warde now alive and doing finished work on the 
 screen. At the Boston performance the late Curtis 
 Guild, Sr., spoke for the public, closing with the 
 words " Many the parts you have played to the end, 
 your best were those of sister, lady, friend.*' Miss 
 Cushman responded saying "Looking back upon
 
 STAGE AND SCREEN 
 
 my career I think I may without vain glory say, 
 that I have not by any act of my life done discredit 
 to the city of my birth. Believe me I shall carry 
 away with my retirement no memory sweeter than 
 my associations with Boston and my Boston public. 
 From my full heart I thank you." 
 
 In two years she left us and was buried from Kings 
 Chapel across from the Parker House where she had 
 made her home. She had no fear of death and, being 
 deeply rehgious, she once said **I can go to any 
 church and find God." Near her beloved poet 
 Longfellow and nearer still to the great actor Edwin 
 Booth, in Mount Auburn, Cambridge, Massachusetts, 
 she sleeps, beneath a simple obelisk on the hillside. 
 Small wonder we find in New York University's 
 Hall of Fame the name of Charlotte Cushman, the 
 first of her profession to be thus honored! 
 
 C243
 
 CHARLOTTE CUSHMAN 
 
 4f* 
 
 ADELAIDE NEILSON 
 
 ANNIE CLARKE KATE REIGNOLDS-WINSLOW 
 
 3ln Hobins Sl^cmorp
 
 Ill 
 
 IN LOVING MEMORY 
 
 ALONG with Charlotte Cushman we place on 
 memory's page for the theatre other names 
 like Kate Reignolds, whose ''Yesterday with 
 Actors " should be in the home of every lover of the 
 drama. She was a highly distinguished member 
 of the Museum company in the early '6o's. In 
 later years she married Mr. Erving Winslow, a Boston 
 merchant, and retired from the stage. It was then 
 I met her personally, listened to her still glorious 
 voice and also heard her loyal tributes to the drama 
 as an art; and she was the embodiment of all it 
 stood for, in its highest development. For some 
 years she appeared occasionally on the platform as 
 a reader of plays, when thousands, from time to 
 time, sat at her feet and profited thereby. 
 
 Her book tells little of herself but it scintillates 
 with tributes to her co-workers, and they were many. 
 Of Charlotte Cushman she writes "Others have found 
 their imitators and successors but the force of her
 
 STAGE AND SCREEN 
 
 genius so stamped our memories that we cannot 
 regret that the great queen's throne remains empty.'* 
 So on, down the hne, always the magnanimous 
 spirit, resplendent on every page — in fact the 
 book radiates love of her fellow creatures. Special 
 tributes are paid Warren, "dear old lady" Vincent 
 and Josie Orton, who is the only surviving member 
 of that wonderful company under Keach. She is 
 the widow of Ben Woolf of Boston, and resides at 
 an advanced age in Brooklyn, New York. 
 
 Kate Reignolds made her debut at four in Eng- 
 land, an impromptu affair in a drawing room, where 
 her mother was entertainer and had to take the 
 child along to keep her engagement. Of her early 
 home she writes sparingly, owing to an inborn 
 dislike of invading the domestic privacy of actors. 
 She writes, "The veil that shelters home should be 
 sacred; indeed it has always seemed to me the very 
 gifts of ourselves behind the foothghts ought to make 
 them a barrier between the world and the rest of 
 our lives." Her book is introduced in the preface 
 as "only a few wayside notes culled from a pubhc 
 career." They are notes that count and they tell 
 of Forrest, and the Forrest Home for old players 
 near Philadelphia; of John Brougham; Agnes Rob- 
 ertson, Ben de Bar, Mrs. John Wood, Laura Keene, 
 
 1:263
 
 IN LOVING MEMORY 
 
 E. A. Sothern, Matilda Heron and equally fine 
 players as she knew them personally and profes- 
 sionally. Her retirement was regretted by all, inter- 
 nationally so. 
 
 Among well known leading players personally 
 known to me was Charles Barron who Hved to a 
 ripe old age and passed on in 'i8. He bequeathed 
 to the stage that clever actress, Beverly West, 
 his granddaughter. On a program before me is 
 his narne, in support of Kate Denin-Ryan in **The 
 Hidden Hand'* played in Portland, Maine, in '60. 
 Both became members of the Boston Museum com- 
 pany, when Kate Denin dropped the name of Ryan, 
 eloped with, and married John Wilson, the handsome 
 young husband of Mrs. Vincent, much to the con- 
 sternation of those immediately concerned, and to 
 the staid devotees of that playhouse. The couple 
 were lost sight of for awhile, when Kate Denin re- 
 turned to the stage in dowager parts, in support of 
 such players as Eleanor Robson with whom she 
 last appeared. She died in '07, Wilson much 
 earlier, and they left three children. 
 
 In connection with my school days comes the 
 picture of Annie Clarke in all her glorious beauty, 
 so appealing to the susceptible young minds of that 
 day. She was leading woman at the Museum 
 
 n273
 
 STAGE AND SCREEN 
 
 twenty years, succeeding Kate Denin after the es- 
 capade alluded to, and she was ever the dependable. 
 She caught my fancy and, as time went on, we be- 
 came fast friends up to her death, which occurred 
 while playing in a travelhng company. She had 
 no special fads but usually with an eye to the artistic 
 garbed herself in the tints to match her brunette 
 beauty, like pale yellow shades, up to the deep 
 brown of her street gowns. We used to steal away 
 for the matinees, and hang round the lobby to see 
 her come out, for there was no real rear stage en- 
 trance or exit there at the time; then we followed 
 her along the street until waning strength turned 
 our steps homeward. It was difficult to acquire 
 the price of a ride in those days but when we did, 
 it was to walk to Salem Street, board the bus with 
 its straw laden floor, and then be dropped at the 
 end of the route — Scollay Square, but conven- 
 iently near our beloved charmer. 
 
 Then comes, to memory dear, Edwin Booth, his 
 art and his sorrows. It is well that the Players 
 Club of New York City, which he founded, should 
 erect a statue of him in Gramercy Park close to 
 their doors, and that it should picture him as Ham- 
 let for "we will never look upon his like again." 
 His name is still creditably borne on the stage by 
 
 t282
 
 SARAH BERNHARDT 
 
 ELLEN TERRY 
 
 IDA VERNON 
 
 CLARA MORRIS
 
 IN LOVING MEMORY 
 
 a nephew, Sydney Booth, son of Junius Brutus 
 Booth and his wife Agnes Booth, who later became 
 Mrs. John B. Schoeffel. Young Booth greatly 
 resembles his uncle and is the only one to bear the 
 precious name today. 
 
 Then to have seen Adelaide Neilson, who went 
 out of life too soon, by many years! Ah, there was 
 an artist and a beauty, by nature sweet and reverent, 
 strong and earnest of soul! At twelve she was able 
 to recite the tragedies of Shakespeare, as well as 
 other plays and was an inveterate student of the 
 drama. Juliets may come and go, but hers lives 
 forever. Julia Marlowe is the nearest approach to it 
 of anyone yet seen, also in others of the classic 
 dramas, and so it is a joy to see her again on our 
 stage. Neilson died suddenly in Paris in '85, and 
 lies buried in England beneath a large cross of carved 
 caster lilies bearing the simplest inscription. 
 
 Looming high on memory's horizon comes 
 Lawrence Barrett, with his splendid art, so distinc- 
 tively his own; dear "Joe" Jefferson, whose sons 
 succeed him on the stage, the elder Sothern whose 
 mantle has fallen gracefully on his son — the fortu- 
 nate husband of Julia Marlowe; the great Salvini 
 from Italy, and his lamented son Alexander who 
 died many years too soon. 
 
 n293
 
 STAGE AND SCREEN 
 
 Clara Morris — there's a name to conjure with! 
 One of the best emotional actresses of her day, 
 minus beauty and good health at that! She held 
 us all in her power by sheer magnetism; **The Ameri- 
 can Actress," that is what they called her rightly, 
 for she was in a class by herself. Her personahty 
 was felt by the most blase critics. No one's Camilla 
 has quite come up to her interpretation, and I have 
 seen all those worth while. Perhaps "Miss Multon" 
 pictured in this book was a better all round play 
 but "Article 47" was a close second. Whatever 
 she essayed, it hit our emotions at once. Now she 
 is old and bhnd, but able to dictate for publication 
 her memoirs, and many articles for the press. The 
 story of her life tells of her art, her tenacity and 
 cheerfulness, despite the illness which beset her all 
 through her life. For nearly forty years she lived 
 in Yonkers where I once visited her; the old 
 fashioned house is now a motion picture studio. 
 Her friends are legion and have made her closing 
 years comfortable over in Tuckahoe, New York. 
 No breath of scandal ever touched her; she is 
 listed in "Who's Who in America." 
 
 Ida Vernon is one of the grandes dames of the stage 
 now retired after a notable career, beginning at the 
 age of twelve as Puck in "Midsummer Night's
 
 IN LOVING MEMORY 
 
 Dream" with Edwin Booth, back in *^6. This was 
 at the Boston theatre **befo' the war," as they say 
 in her Dixie land. When that was over, during 
 which she had an encounter with Abraham Lincoln, 
 when she was under arrest by orders of Ben Butler, 
 she resumed activities in Booth's company and 
 has a record of more than sixty years on the stage. 
 Her ** Memories'* in preparation, will be illuminat- 
 ing, but, from what I know of her modesty, they will 
 not scintillate with stories of her own triumphs. 
 For eleven years, up to her withdrawal, she was 
 with William Hodge, creating parts hke the one in 
 "The Man from Home," the "Road to Happiness" 
 and other plays. It was a privilege to meet her and 
 look into her sad but still beautiful eyes, and fully 
 to reahze what Ida Vernon stands for. 
 
 She, like Charlotte Cushman, had a sad romance, 
 yet happily in connection with a man above re- 
 proach — Edwin Booth. They loved each other 
 but circumstance and a misunderstanding conspired 
 to separate them. Wherever Ida Vernon is, you 
 will find a portrait of Booth on her desk with fresh 
 flowers before it. She was convent bred, with 
 a touch of Scotch tenacity in her, is a Christian 
 Scientist, and carries harmony along combined with 
 faith. 
 
 1:313
 
 STAGE AND SCREEN 
 
 Maggie Mitchell and Lotta line up in memory, 
 as inimitable in their special line of work. The 
 former passed away in 'i8 after a long useful life 
 dating from '60, when she made her first appearance 
 at the Boston Museum, with her sister Mary. Then 
 she toured the country in a special repertoire which 
 included "The Pearl of Savoy" "Fanchon" and the 
 like. She married twice, the second time, Charles 
 Abbott, widely known today in theatrical circles, 
 who put on "Niobe" in conjunction with Ben 
 Teal. At the age of eighty-two she astonished 
 Broadway by going over from her Long Island 
 home to see Cyril Maude in "Grumpy." She was 
 in no sense a rival of Lotta, as each had a distinctive 
 personality and art all their own. "The Cali- 
 fornia Diamond" we still have with us, as sprightly 
 as of yore, and attending the theatres regularly. 
 Before me are two programs — one "La Cigale" 
 which opened the new Park theatre, made over from 
 Beethoven Hall, owned and dedicated by Lotta 
 April 14, '79, and another bill telling of an earlier 
 performance at the Boston theatre, Sept, 28, '68, 
 when she put on "Firefly, or the Friend of the Flag," 
 supported by Charles R. Thorne, and others long 
 since passed away. She was born in New York, 
 and went to the Coast with her parents when very
 
 IN LOVING MEMORY 
 
 young. She was tremendously popular and called 
 by many "The Dramatic Cocktail." Her love for 
 Cahfornia never waned and so she presented the 
 city with a drinking fountain for dumb animals, 
 to whom she is devoted. Lotta is the wealthiest 
 actress now living, and owns much real estate. 
 She retired some years ago, too soon to suit the 
 pubhc. She devotes much time to her brush and 
 to music. 
 
 Agnes Booth is a blessed memory too and it was 
 a hberal education to know her as I did, toward the 
 close of her career. We met at her seaside home 
 at Manchester, Massachusetts, at an outdoor per- 
 formance of *'As You Like It" given by her, for the 
 Actors Fund of America, August 8, '87. Just glance 
 at the cast! Osmond Tearle, Fred, Minnie and 
 LiUian Conway, Frank Mayo, Stuart Robson, 
 George C. Boniface, Mark Price, George Schiller, 
 Wilham H. Crane, Maida Craigen, Frazer Coulter 
 and Charles Abbott, to say nothing of the hostess 
 herself. I first saw her as Agnes Perry before she 
 wedded Booth, in the play "Ours" at the Boston 
 theatre March 22, '67, put on for her benefit. Her 
 "Jim the Penman" has never been approached. 
 She left one son Sydney Booth already spoken of. 
 
 L 33 J
 
 IV 
 
 WILLIAM SEYMOUR 
 
 A LIVING bureau of information is William 
 Seymour, actor, stage manager, director, 
 writer and authority on plays and players. 
 His big den in the Seymour summer home "Clamavi 
 Towers" in South Duxbury, Massachusetts, is one 
 to travel far to see, and revel in, for here in his 
 library are his art treasures, books on all subjects 
 relating to the stage, records of stock companies 
 and great producers, like the lamented Charles 
 Frohman with whom he was associated so many 
 years. Here are books, old and new, all of value 
 to one who likes to browse in book stalls, or to ob- 
 tain late data. Presumably he has all the books 
 penned by and about players — the old and modern, 
 some quite rare editions, many of them autographed. 
 Here are countless playbills, photographs, oil paint- 
 ings of great stars, stage props, armors, swords, 
 curios, and priceless articles — a valuable and in- 
 structive collection. Here, too, are pictures from 
 
 n343
 
 o . 
 w I 
 
 in S 
 
 o -^ 
 
 c
 
 WILLIAM SEYMOUR 
 
 the estate of the late Fanny Davenport, willed to 
 her sister, May Davenport-Seymour. One of the 
 treats of last summer was my stay in their hospitable 
 home where we turned the hourglass back a bit on 
 matters of mutual interest, concerning the drama. 
 
 As already mentioned, Mr. Seymour was for many 
 years stage director of the Boston Museum com- 
 pany, and he has had a distinguished career second 
 to none I can at this time recall. He has played 
 with the noted stars of fifty years ago, and began 
 to act when very young, in New Orleans, inheriting 
 his art from his parents. At 17 he was a director, 
 then on to New York, Cahfornia and Boston. I 
 first saw him at the Museum in "London Assurance'* 
 in '79 playing Dolly Spanker and it was in a com- 
 pany hard to approach as to personnel and team 
 work. Here are their names — Charles Barron, 
 Alfred Hudson, William Warren, Joseph Haworth, 
 George Wilson, May Davenport, James Nolan, Sadie 
 Martinot, Jack Mason and Annie Clarke — some cast ! 
 This was a benefit to Miss Clarke; only four of that 
 company are now ahvc. He was stage manager as 
 well as player, and his services are sought even now. 
 
 He is supremely happy in his home life and his 
 countless friends. Mr. Seymour refers feelingly 
 always to his old associates like Sol Smith Russell, 
 
 1:353
 
 STAGE AND SCREEN 
 
 that embodiment of cheer and clean comedy; to 
 Charles Frohman whom he loved hke a brother, to 
 Lawrence Barrett, Edwin Booth, John E. Owens, 
 Joseph Jefferson and E. L. Davenport. He married 
 May Davenport and they have reared a fine family 
 with grandchildren to dehght their dechning years. 
 Mrs. Seymour first appeared in Philadelphia with 
 her parents, then she went to Daly's company and 
 to the Boston Museum, for second leads in '79, 
 playing in "The Danichefi's" and later successes. 
 She also supported her sister Fanny Davenport 
 leaving her to marry Mr. Seymour. One daughter 
 May (now Mrs. W. S. Eckert) appeared at the 
 Museum in "The Little Princess" and made a 
 favorable impression. Here is a program before 
 me dated '63 with a cast in a memorable play " Rose- 
 dale" with Mr. Seymour's mother in the cast — 
 Mrs. L. E. Seymour playing Lady Angela, and 
 "master" Willie Seymour, Sir Arthur May. Law- 
 rence Barrett was Eliot Grey; and he retained this 
 play in his repertoire until he joined Edwin Booth, 
 in the late '8o's when the play went into stock, 
 being afterward produced by Mr. Seymour in many 
 theatres in this country. 
 
 The Seymours have three sons, of whom they are 
 rightly proud, since all are clever. One, Ned, is
 
 WILLIAM SEYMOUR 
 
 in literary work on pretentious publications in 
 New York; John is on the stage in support of 
 such players as Laurette Taylor, John Barrymore 
 and others; the third son, James W. D., is a Harvard 
 graduate, class '17, and one of the first of the college 
 squad to go to France, where he served two years 
 in the French army in the World War. He con- 
 tributed home letters which were gems in literature 
 and sentiment and which appeared in the press. 
 He is an amateur player, a coach for the Harvard 
 college plays, member of the exclusive "47 Work- 
 shop," and recently completed the two volume 
 history of the American Field Service. The 
 daughter, named for her aunt Fanny, married a 
 few years ago a grandson and namesake of the late 
 R. M. Field, the successor to E. F. Keach. Mr. 
 Seymour is to give to posterity a volume of his career 
 well worth possessing, for he is honestly and earnestly 
 interested in the drama at its best, deploring any 
 decadence. His reminiscences frequently appear, 
 during the holiday season (for him), in the columns 
 of the Hub's literary daily — the Boston Transcript. 
 They are of immense value to students of the stage. 
 During last season he was director and player in 
 the company of George Arliss and created a role. 
 Long live William Seymour! 
 
 1:37]
 
 V 
 
 SOME BIG PLAYERS 
 
 A YOUNG GIRL went to see Ellen Terry as 
 Nance Oldfield. She was full of enthusiasm 
 over Miss Terry's beauty and sprighthness, 
 whereupon her escort said, laughingly, "Why, that 
 pretty girl you are raving about is a grandmother." 
 "Do you mean to say she isn't young?" was the 
 query. "Yes, if you measure by years." "Well I 
 should think any woman, a grandmother, would be 
 ashamed to be skipping about the stage in that 
 fashion." You see her whole picture of the great 
 actress had been changed by the fact that she had 
 learned her age, and associated her with a certain 
 type, with all those years to their credit. Words 
 of mine fail in paying tribute to Ellen Terry, who 
 astonished the world by marrying for the third time, 
 when past sixty, to say nothing of her husband 
 being at least twenty years her junior. He was 
 her stalwart leading man in "Captain Brassbound's 
 Conversion," one of the last plays in which she 
 appeared in this country.
 
 SOME BIG PLAYERS 
 
 One cannot disconnect her from Henry Irving 
 with whom she made her early appearances here. 
 I saw her first in "The Vicar of Wakefield" on the 
 road, and later in the '8o's as Opheha and Portia, 
 then met her socially at a reception in Boston 
 tendered by the College Club then new. In her 
 screen picture, "Her Greatest Performance," we 
 get a ghmpse of her daughter Edith Craig, both of 
 them poorly photographed, the picture made in 
 England. Ellen Terry has this to say: "We hear 
 too much about the reforms of the theatre and too 
 little about the reform of the audience." This was 
 at a meeting of the British Drama League in London, 
 when she also declared that audiences got Just what 
 they seemed to ask for. Her remarks were addressed 
 to those present who aimed to uplift the stage. 
 
 Rose Coghlan 
 
 Placed at a pinnacle is Rose Coghlan, happily 
 alert and alive to grace the stage of today. Few 
 actresses have been endowed with so much native 
 ability, and not one has given us a better Lady 
 Teazle. Safe to say, I have never seen a Peg Wof- 
 fington to compare with hers. Her life story is going 
 out from her own pen. In this she pays loyal 
 
 C393
 
 STAGE AND SCREEN 
 
 tribute to her brother Charles Coghlan, leading man 
 par excellence, in his generation. In an interview- 
 she used these words concerning the most tragic 
 moment in her Hfe: "I loved my brother Charles 
 better than anyone in the world. Ever since I 
 w^as a child he has been my hero, and the fact that 
 I was Charles CogIilan*s sister meant more to me 
 than all my own success. I think anyone who knew 
 him well would understand why I loved him, and 
 looked up to him so. He started me in my work 
 and his love and help never failed me." 
 
 At fifteen she made her debut in her native land, 
 and came to America from Peterborough, England, 
 in '71, to enjoy a long and creditable career. I 
 first saw her in support of the elder Sothern whose 
 Lord Dundreary is such a pleasure to recall, later 
 in "The Happy Pair" at Wallacks where she held 
 the boards as leading lady in repertoire back in the 
 '8o's. Later I saw her in "School for Scandal," 
 and again in 191 5, wearing the same gown as in '83. 
 This was a memorable night in the history of New 
 York theatres, and was the last for dear old Wal- 
 lacks, which was demolished soon after. She gave 
 the tag, her still glorious voice shaken with emo- 
 tion while the house rose and threw flowers at 
 her. She never looked more radiantly beauti- 
 
 n4oI]
 
 
 
 -Y'-i^ 52^ 
 
 
 
 >'
 
 SOME BIG PLAYERS 
 
 ful, and the picture in this book was taken at 
 the time. 
 
 Happening to be in Boston with an all star cast 
 in "Trilby" which included Robert Paton Gibbs 
 who created the role of Gecko, she celebrated 
 quietly her golden jubilee on the stage. To the 
 shame of playgoers and public, little notice was 
 taken of it, while New York rebelled at not being 
 the place to make this an historical event for the 
 stage. She still possesses the grace, presence and 
 charm of manner of yore. Rose Coghlan has made 
 one or two pictures, notably "The Sporting Duchess," 
 and appears now and then, recently in vaudeville 
 with a picked company doing an act from *' Forget- 
 me-not," playing Stephanie as she had done many 
 years, rivalling Genevieve Ward in this her star 
 play. 
 
 Mary Shaw 
 
 To know Mary Shaw before and behind the foot- 
 lights is one of the treats of my life, as regards the 
 stage, for she is the embodiment of all that tends to 
 make her profession more than worth while, and 
 few have attained her distinction, as an actress of 
 many parts. She was a pioneer in placing before 
 us the so-called problem plays of Ibsen, Shaw and 
 
 n4i3
 
 STAGE AND SCREEN 
 
 the like, and together with Arnold Daly was roundly- 
 abused by press and pubHc, particularly when pre- 
 senting *'Mrs. Warren's Profession" in '05. Well, 
 Mary Shaw and all of us have hved to see such 
 offerings, and far more suggestive ones, thrust upon 
 both stage and screen. Take the Brieux play 
 "Damaged Goods" for instance, a play condemned 
 by officials in Boston, for one city, but put on the 
 screen in '19 with the same company headed by 
 Richard Bennett, at a large theatre at regular 
 prices and lauded to the skies. So much for the 
 evolution in sentiment and education. Truly times 
 have changed! The World War opened our eyes, 
 too! 
 
 Mary Shaw hails from Boston, her stage training 
 taking place when an actor was one in more than 
 name, and when hard work was its own reward. 
 She gradually developed into a player of brilhant 
 attainments and intellectual power — better still 
 she is active and giving continued delight with her 
 talents. In 1900 she attended the Congress of 
 Women in London, the only delegate to represent 
 the American stage. Madge Kendal presided, Ellen 
 Terry and others spoke — all from notes, but our 
 representative used none, being an expert in ex- 
 temporaneous speaking. She called attention to 
 
 C42;]
 
 SOME BIG PLAYERS 
 
 the fact that the first woman to enter the ranks of 
 professionals was an actress. In London she was 
 a guest of Sir Henry Irving and other distinguished 
 persons and was presented at the Court of Queen 
 Victoria. It is not generally known that Mary 
 Shaw is legally a Duchess, for she is none other than 
 the widow of Duke de Brissac of France. When 
 interviewed there, she exclaimed "Fudge! there are 
 no more titles in France — it is a Republic, you 
 know." She is actively interested in the estab- 
 lishment of a National Theatre for women, and is 
 strongly supported by eminent persons of both 
 sexes. She resides in New York City, is one of the 
 early incorporators of The Professional Women's 
 League, and is founder of the Gamut Club for women. 
 While in California playing an engagement some 
 years ago, she was made honorary member of the 
 Gamut Club of San Francisco, a male organization, 
 and there conceived the idea of one for her own 
 sister v/orkers on the stage. 
 
 n43 3
 
 VI 
 
 MARY ANDERSON AND OTHERS 
 
 OUR MARY" was the first player to be the 
 victim of my pen, just before her last 
 appearance on our stage, as an actress 
 of many parts, exactly suited to her personahty. 
 I had seen her in all her plays from the time of her 
 debut, but this occasion brought me in closer range. 
 It was in "The Winter's Tale" at the Holhs Street 
 theatre in '89 when she essayed the dual role of 
 Hermione and Perdita. Then followed her illness, 
 which took her from us as a star in the height of her 
 career. A native of Cahfornia, reared in old Ken- 
 tucky, daughter of a soldier, she early attracted 
 attention, and from none other than Charlotte 
 Cushman, who told her that she possessed three 
 requisites for the stage — voice, personality and 
 gesture. So Mary Anderson studied with this 
 great woman and pohshed off under her guidance. 
 Here and abroad she won personal and artistic 
 success, was ever a picture to fill the eye, as well 
 C443
 
 \
 
 MARY ANDERSON AND OTHERS 
 
 as a credit to her native land. In '89 she married 
 Antonio Navarro and settled down to domesticity, 
 retiring from our Broadway to old Broadway, a 
 charming place in Worcestershire, England. Mary 
 Anderson gave no "farewells'* but retired grace- 
 fully, when she meant to, and has steadfastly de- 
 clined tempting offers to return for "just one more 
 American tour." She goes out once in awhile for 
 charity or some notable benefit to sing, or do a small 
 part, and there's a reason for her decision. She is 
 supremely happy in that ideal home of hers over 
 there. It was my privilege to meet her by chance 
 at Stratford-on-Avon and in Anne Hathaway's 
 garden where she was dodging tourists, who swarmed 
 there that day. A pleasant acquaintance was re- 
 newed which led to a call at her home not far away. 
 The picture of the former queen of the stage in her 
 then stately dignity was surpassed by this newer 
 one, surrounded as she was by her children, their 
 toys, and dogs, all in such a perfect setting. The 
 house is a rambling one, of stone, picturesquely 
 located, yet quite apart from the main thorough- 
 fare. It was discovered by artists long ago, and 
 still retains its original beauty and architecture. 
 In '12 Mary Anderson returned to America for a 
 fortnight to witness the production of "The Garden
 
 STAGE AND SCREEN 
 
 of Allah" by Robert Hichens with whom she col- 
 laborated. She first saw the possibilities for a strong 
 play, and persuaded the author to adapt it. For 
 five seasons it had a run and is still a drawing card 
 for any producer. 
 
 "A Few Memories" from her pen in '96 is a valu- 
 able book, containing a comprehensive narrative of 
 the stage as she found it. It was written at odd 
 moments, and dedicated to her husband, and no 
 wonder, for he has given her a home hard to surpass, 
 and quite in contrast to the stuffy dressing room 
 where we first met. **Our Mary" she will always 
 be called until the final curtain. 
 
 Sothern and Marlowe 
 
 One of the happy surprises of the season of '19 
 was the return to the stage of that well equipped 
 pair, Julia Marlowe and Edward H. Sothern, son 
 of the only Lord Dundreary in memory's halL 
 He wrote a chatty article not long ago headed 
 **My Remembrances" in which he tells of his early 
 start, and he departs from the average writer in 
 decrying his own work. He tells of his first play 
 "Out of the Hunt" and mentions some members 
 in the cast — Richard Mansfield for one (then 
 
 1:46]
 
 E. II. SOTHERN AND JULIA MARLOWE 
 
 in "Ronu-o and Juliet"
 
 MARY ANDERSON AND OTHERS 
 
 twenty-four) also Joseph Haworth, who became a 
 popular favorite and died years too soon. In 
 humorous vein he writes of his alleged shortcomings, 
 later failures, and of his attempt to write a play 
 called "Whose are They," and of his efforts to pro- 
 duce it. He quotes a London critic who said "Talent 
 is seldom hereditary; a lamentable instance of this 
 is to be seen at the Royalty where Sothern appears." 
 However this did not disturb so much as more 
 material things. He came to America when quite 
 young, and we all know where he stands today. 
 I saw him first in "One of Our Girls" with Helen 
 Dauvray at the Park theatre October 4, '86. 
 
 He was devoted to the late Charles Frohman and 
 took his death keenly. Sothern was one ot the 
 last to receive a letter from him, in which he spoke 
 of sailing and urged Mr. and Mrs. Sothern to ac- 
 company him. The letter closes thus. "So far as 
 I am concerned, when you consider the stars I have 
 managed, a mere submarine makes laugh." Mean- 
 time a letter from London reached Julia Marlowe 
 begging her not to sail as the Germans had already 
 tried to torpedo the Lusitania at her Liverpool 
 dock. Frohman knew of this warning, yet went, 
 and his last words are historic. "Why fear death? 
 it is the most beautiful adventure in life." 
 
 C473
 
 STAGE AND SCREEN 
 
 In the "Life of Charles Frohman" pubhshed in 
 "16 one finds much to ponder on. We are indebted 
 to him for developing players hke Maud Adams and 
 her like, still with us. Juha Marlowe has ever been 
 a star; born in England, educated here, and made 
 her first appearance in a Juvenile Opera Company 
 in '82. It was in '97 I first saw her, and as JuHet 
 — a notable performance which won favor at the 
 outset, and now we have her again in all her ripened 
 beauty. 
 
 The Barrymores 
 
 Maurice Barrymore and his gifted wife, Georgie 
 Drew, left a rich inheritance for their children 
 Ethel, Lionel and John, happily before us with ever 
 increasing art, a credit to stage and screen. No 
 better plays were given the public during the past 
 two seasons than ** Peter Ibbetson," **The Copper- 
 head," "The Jest" and — for Ethel — "Declasse" — 
 all unique in their line, the last named play now being 
 on the screen with Miss Barrymore. 
 
 When very young they began to do stunts, even 
 essaying "Camille" at a barn show — admission 
 two cents. Since their amateur days they have 
 touched comedy, tragedy, and the poetic drama 
 with never a backward step. They have essayed 
 
 1:483
 
 unZZ^^ aA^.,^MiAS:c^-^£i 
 
 JULIA ARTHUR
 
 MARY ANDERSON AND OTHERS 
 
 and created roles in plays by Ibsen, Tolstoi, Gals- 
 worthy and their like — to say nothing of Shake- 
 speare. Probably no family in America is so in- 
 timately connected with the stage as the Drew- 
 Barrymores. There is John Drew, his daughter 
 Louise, his niece Georgie Drew Mendum and the 
 Barrymore trio. Mrs. John Drew, the elder, of 
 blessed memory, lived to a ripe old age. I have 
 seen them all in various plays and joyously recall 
 Daly's company with the lamented Ada Rehan, 
 Mrs. Gilbert and John Drew, who is the sole sur- 
 vivor of that imperishable company. The Barry- 
 mores have contributed notably to the screen — of 
 which more anon — and are rightly called "Broad- 
 way's Royal Family." 
 
 Julia Arthur 
 
 Our neighbor Canada has reason to feel proud of 
 Julia Arthur whose distinctly high class work on 
 the stage has ever been a delight for the playgoer, 
 and a credit to any country claiming her. My 
 first glimpse of her was in "A Lady of Quality" 
 more than twenty years ago, and my last was in 
 "Seremonda" in 'i6, in which she did not look one 
 day older, was even more beautiful in her ripened 
 
 n493
 
 STAGE AND SCREEN 
 
 womanhood, and such a treat to the eye and ear! 
 This brought Juha Arthur back to the stage in the 
 type of play associated with her greatest fame as an 
 actress, the good old style of drama that told of the 
 days "when knights were bold and hearts never 
 cold." The stage had not seen such plays since 
 her retirement on her marriage to a Boston business 
 man, and it welcomed her with fervor. Who but 
 Juha Arthur, with her selected company, perfectly 
 balanced, could give a pubhc of today such a feast 
 and in blank verse, too! Presumably the author, 
 Mr. Wilham Lindsey, had her in mind for the crea- 
 tion of the title role. 
 
 "The Eternal Madgalene," however, was the play 
 actually celebrating her return to the foothghts, 
 but this we did not see. While Juha Arthur comes 
 of Welsh and Irish stock and was born in Ontario, 
 her dramatic experiences have been acquired on the 
 boards of American playhouses. She is perhaps the 
 best beloved woman on the stage today, intelhgent 
 in a high degree, sympathetic, tolerant and helpful 
 to others. Some of her views on success are: "It is 
 not so much what you gain for yourself, but what 
 you accomphsh for others; the man or woman who 
 thinks only of personal glory cannot give the best 
 that is in them, as their efforts are hmited." Again 
 
 n5o3
 
 MARY ANDERSON AND OTHERS 
 
 she says: "With me, acting is forgetting myself. I 
 have never been self-centred or tried to develop a 
 pose or affectation. My pohcy has been to do things 
 because I loved to do them, and to avoid high 
 tension. That is why I enjoy my profession." 
 
 Readers know well the parts she has played in 
 Shakespearian productions, in support of such 
 players as Terry and Irving, and in the romantic 
 drama, in repertoire under A. M. Palmer, also that 
 she created several roles as in "Lady Windermere's 
 Fan," "More than Queen," "Lady of Quality," 
 . in which she was selected by the author of the book, 
 Mrs. Frances Hodgson Burnett, for the heroine, 
 a character which gave full scope to her talents. 
 In Bernhardt, JuHa Arthur found her model and 
 inspiration. "Her art," she declares, "is superb, it 
 is rehable, it is exact, yet she manages to give the 
 impression of impetuous passion." Juha Arthur 
 is one of the big players to adorn the screen first in 
 pictures for the Government as a volunteer, then 
 as the martyr nurse Edith Cavell — a five reel 
 picture already seen by milhons — and in Canada, 
 where she made a personal appearance in connec- 
 tion and on her native heath. It is hoped that 
 some enterprising producer will give us "Sere- 
 monda," that her work in this classic may be im-
 
 STAGE AND SCREEN 
 
 mortalized. She is one of the most approachable 
 women, entirely unspoiled by adulation, and capable 
 for many years to come, to delight us and give 
 dignity to the stage and screen. 
 
 Nance O'Neil 
 
 Nance O'Neil possesses all the ingredients of a 
 
 tragedienne, yet runs the gamut of emotion, as 
 
 few have done "in her day and generation." She 
 
 led somewhat of a wandering career until she drifted 
 
 into the hands of Belasco who put her forth in "The 
 
 Lily," the play which had a long run, and in which 
 
 she concealed her beauty for art's sake. Her recent 
 
 work in "The Passion Flower" proves her worth, 
 
 and claim to being one of our strongest players. 
 
 It was Agnes Booth who a few years ago recognized 
 
 her ability, and so she took a personal interest and 
 
 transferred. her to the Tremont theatre then managed 
 
 by John B. Schoeffel, and thus estabhshed a huge 
 
 following. 
 
 Viola Allen 
 
 C. Leslie Allen, who died in '17 after a notable 
 career as character actor in the old Boston theatre 
 stock, had much to do with the training of his 
 daughter Viola, who seems to have retired since 
 her marriage to Peter Duryea. She created several
 
 MARY ANDERSON AND OTHERS 
 
 parts, and played leads before 20. Later in '05 
 
 we saw her in **The Winter's Tale" playing Her- 
 
 mione and Perdita, the latter exceptionally well. 
 
 She was supported by her father and by Henry 
 
 Jewett, who played King Leonites. "The White 
 
 Sister" was her long suit although many preferred 
 
 her work in "The Christian." We last saw her in 
 
 "A Daughter of Heaven" in New York. She had 
 
 a brief try at the screen, doing "The White Sister" 
 
 but was not over successful. There are others who 
 
 have failed lamentably before the camera, while 
 
 doing effective work on the speaking stage — and 
 
 vice versa. 
 
 Margaret Anglin 
 
 Canada also gave "The States" Margaret Anglin 
 and as in the case of Maude Adams she fell under 
 the spell and guidance of Charles Frohman. It 
 chanced that he saw her in a performance at the 
 Empire Theatre School of Acting, became impressed 
 with her work, and at once cast her in "Shenandoah." 
 There*s a start for you! Then she went with 
 James O'Neill, E. H. Sothern, Richard Mansfield, 
 and so on, all the time gaining in achievement and 
 popularity. The public, especially the feminine 
 portion, liked her best in such plays as "The Awak- 
 ening of Helena Richie" a splendid adaptation of 
 
 C533
 
 STAGE AND SCREEN 
 
 Margaret Deland's book, and in "Green Stock- 
 ings," but it was in "Mrs. Dane's Defense" that 
 she displayed the emotional abihty called for, and 
 so she has continued in that form of play. A famous 
 New York critic likened Miss Anghn's Camille 
 second only to that of Bernhardt. It was not our 
 good fortune to see her in this, but I fancy the critic 
 was right in his opinion. In passing, it is of interest 
 to know that two of the plays mentioned have been 
 successfully screened, the first named with Ethel 
 Barrymore, one of the best things she has done 
 thus far before the camera. "Mrs. Dane's Defense'* 
 was portrayed by Pauhne Frederick, but not so satis- 
 factory in some detail as the other. Frank Losee 
 that sterhng stage and screen actor was in support 
 of Miss Frederick. Rumor for some time has had it 
 that Margaret Anghn is to enter the screen field as 
 producer as well as player, that she had purchased 
 a site and would produce such classics as "Medea," 
 presented at the Greek Theatre in Berkeley, Cafi- 
 fornia. Surely the work of this gifted woman is 
 more than worth while and should be seen by a 
 larger following than now. Parts to recall with 
 unbounded pleasure are Roxane in "Cyrano de 
 Bergerac " with Mansfield and " Zira " (the re- 
 christened New Magdalen) with Frank Worthing.
 
 MARY ANDERSON AND OTHERS 
 
 Maude Adams 
 
 Who will ever forget "Peter Pan" and Maude 
 Adams' interpretation of this elfish character, or her 
 fine work in "The Little Minister'* which gave such 
 joy to the author, Sir James Barrie, who, they say, 
 is writing a play especially fitted to her talents. 
 In Rostand's "Chanticleer" she did not meet with 
 the hoped for success, and this had an effect on her, 
 hard to overcome. As she is the very essence of 
 femininity the part of a rooster did not seem to 
 fit — in fact it jarred on us all. With recovering 
 health the public hopes again to show its apprecia- 
 tion of her unusual gifts. Mr. William Seymour 
 tells me that Maude Adams played the child 
 Adrienne in "A Celebrated Case" in San Francisco 
 in '78 with Forrest Robinson, F. F. Mackey, Lewis 
 Morrison, James O'Neill, Rose Wood and others, 
 as proven by a program before me, so she began 
 quite young. 
 
 [55:1
 
 VII 
 
 BIG MOMENTS 
 
 THERE are vivid recollections of many thea- 
 tres, here and there, away from our home 
 city, both in this country and abroad where 
 we sat at the feet of the truly great. Happening in 
 Paris in the early '90's it was an unusual privilege 
 to see Sarah Bernhardt for the first time, and as 
 Camille. To my mind she is the wonder of the age 
 — think of it, appearing quite recently with much 
 of the vigor of yore at nearly four score, to say 
 nothing of being a cripple. In addition to being 
 en tour in '19 she completed a bust of Rostand as 
 a labor of love for the French Academy. Volumes 
 have been written of her art and versatility as 
 actress and sculptor. The screen too has been 
 fortunate in commanding her talents, so that her 
 work may be perpetuated in pantomime at least. 
 It is regrettable that she has not been filmed in 
 this country, that better results might have been 
 attained. However we have one remarkably good 
 
 1:56:
 
 BIG MOMENTS 
 
 picture, in "Mothers of France," taken too in that 
 country, one scene actually done under fire during 
 the war and another in front of the Rheims Ca- 
 thedral showing the statue of Joan of Arc as she still 
 appears in bronze, and unhurt by German guns. 
 
 Some performances come readily to mind like 
 "The Shaughran" with the only Boucicault; "Rip 
 Van Winkle'* with dear Joe Jefferson and now 
 done well by one of his sons; "The Scarlet Let- 
 ter" with Richard Mansfield; "The Middleman" 
 played by that finished actor E. S. Willard, sup- 
 ported by one of our own actresses, Marie Bur- 
 roughs, a beauty and finished player. A marked 
 feature of Willard's work stands out, and may well 
 be emulated for art's sake. He refused to take a 
 curtain call for himself, but kept well within the 
 character, never facing the house. The spectacle of 
 Hamlets and Juliets suddenly coming to life, bowing 
 and scraping to the claque in front, detracts from 
 the effect of the play itself, according to this gifted 
 actor, and it is a pity there are not more of his like. 
 Then Mrs. Drew's Mrs. Malaprop in "The Rivals"; 
 Janauschek in all she did; young Salvini's "Three 
 Guardsmen," John McCulIough's "Virginius"; "Jim 
 the Penman" with Agnes Booth; the Kendals in 
 "A Scrap of Paper," and now in our recent day 
 
 1:573
 
 STAGE AND SCREEN 
 
 *The Lily" for Nance O'Neil under Belasco; "Kis- 
 met" with Otis Skinner; "Peter Ibbetson" for the 
 Barry more brothers; and "Lincoln" by that young 
 Englishman, John Drinkwater. 
 
 Not to be forgotten is James A. Heme in "Shore 
 Acres." He was a man worth knowing and he was 
 greatly aided by his equally gifted wife now living. 
 All theatre goers of the last generation will recall 
 "Margaret Fleming," put on in old Chickering 
 Hall, Boston, May 4, '91. It was not a perfect play, 
 but it had Ibsen-hke quahties, was dramatic, with 
 touches of comedy and pathos, played with mar- 
 vellous skill. It excited a bit of a sensation in one 
 spot when Margaret Fleming became a wet nurse 
 for an illegitimate child. There are two daughters. 
 Crystal and Julie, both on our stage, inheriting 
 dramatic gifts. It is good to know that this play 
 has been transferred to the screen with Edward 
 Connelly, an old friend of the Hemes, in his 
 former part. The play was given over to Mr. 
 Connelly recently by Mrs. Heme. 
 
 Some Hamlets 
 A play to stand out as seen rather oftener than 
 any other is Hamlet and what a long list, leaving 
 out the amateurs! Edwin Booth happened to be
 
 JOHN CRAIG 
 As Hamlet
 
 BIG MOMENTS 
 
 the first to see, at the Boston Museum; then came 
 Charles Fechter at the Globe theatre, Boston, in 
 '70, when Charlotte LeCIerq played Ophelia! Since 
 then, I have seen Wilson Barrett, that virile actor 
 from England; James E. Murdock; E. H. Sothern; 
 Sir John Forbes-Robertson, who came the nearest 
 to Booth in my opinion up to that time. John 
 Craig gave an admirable performance at his theatre, 
 the then Castle Square, and now Walter Hampden is 
 credited with much glory in his interpretation. 
 
 It was quite by chance that I happened in New 
 York City en route to California in '88 when the 
 notable benefit was tendered Lester Wallack, 
 which can never be duplicated — certainly not as 
 to personnel of the participants. The play was 
 "Hamlet" with Edwin Booth in the title role, 
 Modjeska as Ophelia; Frank Mayo and Gertrude 
 Kellogg as the king and queen; Eben Plympton as 
 Laertes; Lawrence Barrett as the ghost; John 
 Gilbert as Polonius; Rose Coghlan as the player 
 queen; Joseph Whcclock as the first actor; Joe 
 Jefferson and William J. Florence as the gravediggers. 
 Wallack when called out was visibly affected, yet 
 every word was distinctly heard by all. Alas, the 
 final curtain fell for him a few weeks later. 
 
 1:593
 
 VIII 
 
 VETERANS 
 
 TAKE F. F. Mackey, for example, as a veteran 
 of the stage. Though no longer playing, 
 he is interested and active along many 
 lines, and a fine example of well preserved vigor 
 with sixty years to his credit on the stage. He 
 once said "The two most potent factors today are 
 the pulpit and the stage." Surely as a Christian 
 gentleman and a finished player he ought to be a 
 good judge. For more than thirty years, he has 
 given unpaid service to the Actors Fund of America, 
 and at last accounts was still active as president 
 and director of the National Conservatory of Dra- 
 matic Art, Elocution and Oratory. He attends the 
 meetings of his clubs, like the Green Room and 
 Players, and is keenly alert to all that goes on. 
 His two sons Edward and Charles hold up the 
 family good name, and both are competent players. 
 Dear old Mrs. Whiff en was last seen in a screen 
 play, "Barbara Frietchie," with Mary Miles Minter, 
 
 ceo]
 
 MRS. THOMAS Willi FEN
 
 VETERANS 
 
 they being at the time the oldest and youngest to 
 shine in filmdom. Her career with both Frohmans 
 will be recalled in such plays as "Hazel Kirke" 
 "The Charity Ball," and "The Amazons," in which 
 I have seen her, also in support of Henry Miller, 
 Margaret Mannering, Margaret Anglin and others. 
 Though educated for the opera she preferred the 
 stage and first appeared as a fairy in "Turco the 
 Terrible" in the '6o's. Her son Thomas Whiffen 
 inherits her ability along lighter lines and has been 
 in Broadway successes such as "Three Twins" 
 with Bessie McCoy-Davis. 
 
 When very young it was my privilege to see 
 Genevieve Ward in "Forget-me-not" and no other, 
 save Rose Coghlan, has done the part so well. She 
 played Stephanie more than 3000 times, is now 
 past four score, and in private life is the Countess 
 de Guerbel. She first appeared in musical plays 
 like "La Traviata" in '62. She has written an in- 
 teresting book on her career. 
 
 Frank Bacon now considered the foremost char- 
 acter actor on both stage and screen and, linked 
 with his successful play "Lightnin'" which broke 
 the season*s record in New York City, is entitled to 
 special mention. Then I must not forget Mary 
 Davis who at 80 played in "Old Lady 31," her 
 
 1:613
 
 STAGE AND SCREEN 
 
 voice reaching to every part of the theatre. Charles 
 Kent is another surviving member of the Boston 
 Museum, who retired from the speaking stage ten 
 or more years ago for the screen. He excels in 
 parts calling for dignity, as Southern Colonels and 
 the like. Eugenie Blair and Minna Gale Haines, 
 though not lining up as veterans, are growing 
 older gracefully and still dependable. They sup- 
 ported Mary Young Craig in her best play "The 
 Outrageous Mrs. Palmer" which went from the 
 Arlington theatre to Broadway. 
 
 Rachel Noah (Mrs. Shirley France) is approach- 
 ing four score, yet busy teaching dramatic art in 
 Boston. She was a member of the old Boston 
 theatre stock company in the days of "Michael 
 Strogoff" and has supported Charlotte Cushman, 
 Booth, Barrett and such players. Maude Granger, 
 beautiful as ever, is still playing. She created a 
 part in last season's play "Polly anna" and she radi- 
 ates harmony. It is this actress who discovered 
 Ada Rehan, took her to Daly, who cast her for 
 the hag, in "La Noir." Readers know to what that 
 led toward immortalizing the name of Daly's stock 
 company. 
 
 George Wilson, one of the best character actors 
 of the Museum days, is frequently met. During 
 
 1:623
 
 CHRISTINE NILSSEN 
 
 RACHEL NOAH 
 
 MAUD grangp:r
 
 VETERANS 
 
 the World War he gave all his costumes to the 
 theatre at Camp Devens. The last time I saw 
 him on the stage was in "Capt. Harrington," Victor 
 Mapes' play, which had quite a run in Boston 
 in '03 with a fine cast, including Joseph Kilgour 
 who played George Washington, and Charles Rich- 
 man who doubled in the title role and one other. 
 
 Ada Oilman, one of only a few of the Museum 
 company of the late '6o's, is alive, and content to 
 retire after fifty years of the footlights. She was 
 privileged to support Charlotte Cushman, Booth, 
 Wallack and their like. She played Rosa Leigh in 
 "Rosedale" when Lawrence Barrett was Eliot 
 Grey, and made a hit in **The Ticket of Leave 
 Man" at the Globe theatre. In the cast were 
 Mrs. W. J. Florence, F. F. Mackey, John T. Ray- 
 mond, Mrs. Thomas Barry, and W. E. Sheridan. 
 Her first appearance was made at 19 in "Sweet- 
 heart and Wives" in '68, with the Museum com- 
 pany in the days of Vincent and Warren. In recent 
 years she has appeared off and on, and was for a 
 time with George Cohan. Her last appearance in 
 Boston was in "The House of Glass," at the Park 
 Square theatre. She is cheery as ever and active 
 in doing good. 
 
 C633
 
 IX 
 
 STOCK COMPANIES 
 
 ONE of the best actors of our day, George 
 Arliss, thoroughly approves of stock com- 
 panies (if quoted correctly) as the best 
 sort of training school to graduate players. He 
 predicts that the time will come for a demons '■.ration 
 of this — in fact it has already. He further says 
 that the day is approaching when at least one stock 
 company will prevail in every large city, that it 
 will travel about each year for three months, and 
 return home to keep up the work. George Foster 
 Piatt has done well along this line, in Milwaukee, 
 Wisconsin. John Craig, with his talented wife Mary 
 Young, achieved more than local prominence in 
 Boston, with their admirable stock company at the 
 former Castle Square theatre, now the Arlington 
 to which they returned in the fall of '19 in repertoire 
 and new plays. Players of national prominence owe 
 much to their training in that company. Mr. 
 Craig for several seasons offered a money prize 
 
 1:643
 
 EDGAR L. DAVENPORT 
 
 MARIE BURRESS 
 
 SYDNEY BOOTH 
 
 ISABELLE EVESSON
 
 STOCK COMPANIES 
 
 for new plays written by Harvard students and 
 others, like "Common Clay/* *' Believe me Zan- 
 tippe," "End of the Bridge" and their like. 
 
 Then we have Henry Jewett, that splendidly 
 equipped Enghsh actor who took hold of the former 
 Toy Theatre, re-named it the Copley, organized 
 a company of players, and established a clientele 
 like that of the old Museum days. He, too, has 
 put on new plays running the gamut from Shaw, 
 Ibsen and the like to lighter pieces. Readers know 
 well of the old Boston theatre under L. R. Shewell 
 and what that meant to the world of theatre goers. 
 Then the lamented Daly's company, which opened 
 the Shakespeare Memorial theatre at Stratford-on- 
 Avon in '88. Alas, only John Drew remains of that 
 cast. In the lobby of this theatre is a full length 
 life size painting of Ada Rehan, the gift of Augustin 
 Daly. She is pictured in her greatest part, Kathe- 
 rine in "The Taming of the Shrew." Before me 
 is a large poster picturing that company and pur- 
 chased on the spot for only a shilling. Not to be 
 overlooked is the Union Square with such players 
 as Sara Jewett, Charles R. Thorne, and their like; 
 the Madison Square under A. M. Palmer, with 
 Agnes Booth, Marie Burroughs, E. M. Holland, 
 May Robson, C. P. Flockton and many who 
 
 1:653
 
 STAGE AND SCREEN 
 
 achieved prominence; The Empire, and so on — 
 their history having been well written by abler 
 pens. 
 
 Henry Jewett declares against the star system in 
 his repertoire theatre, for the reason that too often 
 he or she is merely the result of personahty instead 
 of real abihty. For this reason, presumably, he has 
 acquired a group of players of ability who are 
 dependable as well as versatile. Mr. Jewett is an 
 Australian by birth and his story reads like fiction. 
 He began to read and study Shakespeare when a 
 lad and made a record on the stage before coming 
 to this country. I first saw him in "The Christian" 
 as John Storm and again, season after season. To 
 the later playgoer he will be more readily recalled 
 for his work as the Russian Duke in "The Man 
 from Home" with William Hodge for several years. 
 He has supported Julia Marlowe, and equally good 
 players, and was seen last on the stage at his 
 own theatre in "The Chinese Puzzle." His whole 
 time is now devoted to the work of manager- 
 director. His company is made up of English 
 players largely, all of experience, and they have 
 established a personal as well as artistic following. 
 
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 X 
 
 THE SINGERS 
 
 SHARING in my affections are the singing 
 players, beginning with the immortal Patti, 
 who died so recently at a ripe old age, her 
 ardor undimmed. Many is the time we have paid 
 good money to hear her so-called "farewells," 
 notably at the Boston theatre, and we often had to 
 stand. This was no easy task as the floor began to 
 slope from the rear walls to orchestra, and it was 
 necessary to improvise a prop (usually our outer 
 garment) to avoid cramp or pitching forward. Well 
 it was worth it, for she was not only a great singer, 
 but good to look at, with her lustrous brown eyes 
 and girhsh figure, retained to the end. I heard 
 her in all the operas given in Boston, and oh my, 
 didn't she draw houses, all musical Italy in the 
 North End colony turning out to fill the "nigger 
 Heaven" at popular prices. Her sister Carlotta 
 made America at least one visit, and was the teacher, 
 friend and adviser of the late Teresa Carreno who 
 
 1:673
 
 STAGE AND SCREEN 
 
 also left us in '19. Patti was only seven when she 
 first appeared, in no less a song than *'Comin' 
 Through the Rye," receiving, instead of flowers, 
 a big doll. The world knows of her art and 
 picturesque triumphs in spite of her early pov- 
 erty and struggles. At 60 she made her re- 
 appearance in New York City at a concert and 
 what a house! 
 
 Christine Nillson is alive and in her beloved 
 Sweden, having retired from the vocal stage many 
 years ago. She was called "The Swedish Nightin- 
 gale," tall, fair, a perfect Marguerite, needing almost 
 no make-up, and always wearing her own blonde 
 tresses. "Faust" was the only opera I saw her in 
 but I later attended a concert in New York City 
 at the Metropolitan Opera House when her voice 
 broke. It was her last public appearance and the 
 utmost sympathy was felt; even the critics ab- 
 stained from comments that reflected, so great was 
 the respect felt for her. 
 
 At 21 she sang "Violetta" in Paris, and had the 
 musical world of the continent at her feet. Then 
 she came to this country — the second song-bird — 
 Jenny Lind being the first and before my time for 
 theatre going. Like the actress Lotta, she dabbled 
 in real estate and until recently owned property 
 
 n683
 
 MARY GARDEN 
 
 AN ORNAMENT TO STAGE AND SCREEN
 
 THE SINGERS 
 
 in the business district of Boston. She was twice 
 married and is now the Countess Miranda. 
 
 Clara Louise Kellogg was one of our favorites and 
 how she and BrignoH brought down the house, 
 especially in Itahan opera. Parepa Rosa was slightly 
 known to me through the Boston Peace Jubilee, 
 when I sang in the chorus. "Them were the days." 
 To go back a bit to the close of the first Jubilee in 
 '69, I had the courage to ask the diva to fasten my 
 glove, which she did with a big hug. Hers was a 
 personality worth while, and she was the embodi- 
 ment of good nature. Following the second jubilee 
 in '72 there was a ball given for the chorus, and 
 those of us alive will never forget dancing "The 
 Blue Danube" waltz, the band led by the com- 
 poser Strauss — some rhythm ! Then, the dance 
 was worth while, and not a series of evolutions 
 such as exist today. 
 
 Another splendid all round singer and musician 
 is Helen E. H. Carter- Wright, pictured in this 
 book as Serpolette in "The Chimes of Normandy." 
 She created several roles in the Gilbert and Sullivan 
 operas, and was in constant demand as a concert 
 and oratorio singer when active. At 13 she at- 
 tracted attention in the quartette of the late Henry 
 Clay Barnabee, who practically founded the Boston 
 
 1:69]
 
 STAGE AND SCREEN 
 
 Ideal Opera Company, later the Bostonians, the 
 fame of which cannot be diminished. Mrs. Wright, 
 then known all over the country as Helen Carter, 
 was with the late Carl Zerrahn, whose name spells 
 music. She also had her own company for awhile 
 and always had a position either in church or con- 
 cert work. Her daughter, May Shepard Hayward, 
 inherits her mother's musical abihty and is a suc- 
 cessful soloist and teacher. 
 
 Of the newer generation of course comes Geraldine 
 Farrar, Mary Garden, Ahce Neilson who was dis- 
 covered by Barnabee and brought out by him, and 
 scores like Calve and Emma Juch come to mind — 
 all in the pubhc eye. We must never forget Minnie 
 Hauk now old, blind and neglected too many years. 
 To the credit of "Gerry" Farrar, a fund has been 
 raised to insure her future comfort. 
 
 Apart from the stars, who are too numerous to 
 mention, there are excellent singers still in our midst 
 like Annie Louise Gary, who hails from Maine, which 
 gave us such wonderful prima donnas as Nordica 
 and Emma Fames, the latter happily with us. 
 Annie Gary retired in her very prime, much to the 
 regret of world wide admirers, and her golden con- 
 tralto voice has had no counterpart, unless we 
 except the diva Mme. Schumann-Heink, who has
 
 
 HELEN E. H. CARTER-WWGHT 
 
 The late MRS. SOL SMITH
 
 THE SINGERS 
 
 SO delighted us. Annie Gary married Charles M. 
 Raymond, a New York man, in '8i, and resides in 
 Connecticut. Her Boston relative, Flora Barry, is 
 rounding out her 85th year and annually celebrates 
 that event. 
 
 CyO
 
 M 
 
 XI 
 
 THE AMATEURS 
 
 ENTION should be made of known gradu- 
 ates from the ranks of the amateurs who 
 have made good on the legitimate stage, 
 like Stuart Baird, whose dramatic abihty was 
 recognized by Winthrop Ames, who induced him to 
 give up a business career for the foothghts. Donald 
 Bryan — he of "The Merry Widow" and "Buddies" 
 fame, known for his nimble feet, and charm of per- 
 sonality — was comparatively unknown as to stage 
 training, but hit it "right from the start." Without 
 doubt the greatest impersonator of the feminine 
 roles is Julien Eltinge who has been called "the 
 handsomest woman on the stage." The best thing 
 about him, apart from his inimitable art in make-up, 
 is his utter manliness away from the footlights. 
 "No sissy about that chap" said a Londoner fol- 
 lowing one of his plays. He began his career as 
 an amateur in the Boston Bank Officers Associa- 
 tion annual shows. These three men stand out 
 
 n72]
 
 BERTHA WESSELHOEFT SWIFT 
 As Falstaff 
 
 MEMBER OF THE PROFESSIONAL WOMEN'S CLUB OF BOSTON
 
 THE AMATEURS 
 
 through personal acquaintance with their work, 
 but doubtless there are others who have not come 
 my way. 
 
 Perhaps the best impersonator of male roles be- 
 fore us today is still in the ranks of the amateur, 
 though she had some experience on the regular 
 stage long ago. She is Miss Bertha Wesselhoeft 
 Swift of Boston and is widely known in New York 
 dramatic circles as an early member of The Twelfth 
 Night Club. She is a singer and teacher, with strong 
 personality and marked temperament. Annually 
 The Professional Women's Club, of which she is 
 vice-president, puts on a pretentious play or light 
 opera and Miss Swift leads in male roles. Their 
 first play was "Masks and Faces" when Adelaide 
 Ford Hibbard made her debut from the platform, 
 which led to the legitimate stage, which she *so 
 ably adorned as an actress of versatihty. They 
 put on "As You Like It" coached by Marie Burress 
 Currier, formerly leading woman at the Museum. 
 Then came "The Merry Wives of Windsor" with 
 Miss Swift as Falstaff as pictured in this book. 
 She was coached by Thomas Wise and wore one of 
 his costumes. "School for Scandal" was given in 
 '19 and "The Rivals" is their latest success — this 
 play coached by Kate Ryan who again played 
 
 1:733
 
 STAGE AND SCREEN 
 
 Mrs. Malaprop much to the delight of her large 
 following. The club talent is drawn upon ex- 
 clusively, as there are a number of actresses enrolled, 
 also singers of wide repute. Lotta Crabtree and 
 Julia Arthur are honorary members for the drama. 
 
 1:743
 
 JULIAN ELTINGE
 
 XII 
 
 IN LIGHTER VEIN 
 
 A VOLUME might be written of those who 
 have delighted a big public during the last 
 decade in lighter plays, like extravaganzas, 
 musical comedies and the like. They are too nu- 
 merous even to mention in any detail. There was 
 Marie Jansen, The Weathersby sisters, delicious 
 Francis Wilson, and his always fine company, 
 Pauhne Hall, Lulu Glasser, petite Ida MuIIe, Adele 
 Ritchie, Tom Seabrooke, Harry Dixey, Delia Fox, 
 Geraldine Ulmer, LilHan Russell, Otis Harlan, Nat 
 Goodwin, Sadie Martinot, George Schiller, the Ideal 
 Opera Company with Barnabee, who has left an 
 interesting book, "My Wanderings,** full of humor. 
 Now we have the piquant Elsie Janis to delight us 
 we hope for a long time, on both stage and screen. 
 Her name is high on the list of War workers and she 
 has the entire A. E. F. to call friends. 
 
 A word more of Lillian Russell, the perennial 
 beauty who simply refuses to grow old. She is a 
 
 n75D
 
 STAGE AND SCREEN 
 
 marvel, in that she keeps her heart ever young, and 
 her mind above petty things. Her mother was 
 Cynthia Leonard, a woman of literary abihty, 
 whose writings have been lovingly put into book 
 form, and sent to family friends and others. The 
 late Nat Goodwin paid as high a tribute to Lillian 
 Russell as one can hope to find anywhere. He 
 called her a "beautiful and much misunderstood 
 woman" and further said, "She is the fairest actress 
 that ever shared applause with a brother or sister 
 artist and possesses all the attributes that make a 
 true woman." I first saw her at the Boston Museum 
 in "Billee Taylor" in ^85 and then never missed an 
 attraction in which she figured. 
 
 Another active player on stage and screen is 
 Fannie Ward who looks 30, and is really the mother 
 of a married daughter. In this book she is pictured 
 at the age of 17 when playing with Harry Dixey, 
 just before she went to London, where she met and 
 married Joe Lewis, the diamond broker. Her big 
 screen play was "The Cheat," spoken of elsewhere. 
 
 0/ Fleeting Vision 
 
 There have been a few players of meteoric careers, 
 like Lily Langtry called in her young days "The 
 Jersey Lily." She is the daughter of a clergyman, 
 
 1:763
 
 IN LIGHTER VEIN 
 
 was a great beauty, and made her entree into London 
 society under the patronage of the then Prince of 
 Wales, later King Edward. She came to America 
 in '87, opening at the Boston theatre, and was 
 certainly good to look at. She was probably the 
 most interviewed woman at the time. She invested 
 in real estate in Cahfornia, also in race horses, and 
 acquired the title of "Queen of the Turf.'* As an 
 actress she was not much of a success. 
 
 Another who had a brief but exotic career was 
 Mrs. James Brown Potter who was supported by 
 one of the best leading men of the day — the late 
 Kyrle Bellew. She first astonished society by re- 
 citing entire the poem "Osier Joe." She had a 
 beauty of the audacious type; she went abroad 
 years ago to remain. Another beauty with un- 
 doubted talent who comes to mind is Margaret 
 Mather, whom I first saw as JuHet at the Boston 
 theatre in '84, supported by the young Salvini, 
 that splendid Italian actor. Mrs. Leslie Carter 
 was much in the theatrical eye for many seasons, 
 but seems to have retired. She had quite a follow- 
 ing in such successes as "Zaza," "The Heart of 
 Maryland," and some more or less bizarre plays, 
 and we miss her. 
 
 [1773
 
 XIII 
 
 A SUM-UP 
 
 IT has been said and truly that among the chief 
 drawbacks to the actor's profession, is the fact 
 that he leaves behind him nothing by which 
 the measure of his talents can be properly gauged 
 by posterity. True it is, that many playgoers hold 
 the great players in memory, but there is ever the 
 newer generation which beheves nothing not tangible 
 to eye and ear. The cinema comes now to remedy 
 that — but alas, present day players may imitate 
 and create parts, yet cannot reproduce the varied 
 traits of the great tragedians of the days of Booth, 
 Barrett, Jefferson, Salvini and their like. This 
 newer generation has only hearsay evidence of what 
 those artists stood for in their day. 
 
 Well, why look backward anyhow, someone says. 
 I,et me quote that prince of critics, Phihp Hale, 
 referring to Forrest and the hke. "What would the 
 playgoer of today say to Charlotte Cushman's 
 Lady Macbeth? Would he be thrilled by E. L.
 
 A S U M - U P 
 
 Davenport's Sir Giles Overreach? Would Adelaide 
 Neilson work her spell? Would not the 'Black 
 Crook' (decreed as immoral then) be voted tame 
 today? Would Lydia Thompson and her British 
 blondes draw young blood to the theatre and would 
 George L. Fox as Hamlet, Macbeth and Richelieu 
 excite uproarious laughter? Here's enough for sad 
 thinking." 
 
 Tastes and demands of the hour have changed, 
 and playgoers are seemingly satisfied with reigning 
 successes. Many assert that we still have great 
 talent, while others deplore the decadence of the 
 drama as they see it in perspective. To me, the 
 drama is as attractive as ever, and will be, while 
 we have such players in our midst as E. H. Sothern 
 and his gifted wife, Julia Marlowe, Mrs. Fiske 
 (Minnie Maddern), Otis Skinner, Henry Miller, 
 Grant Mitchell, Mary Shaw, Julia Arthur, Margaret 
 Anglin, Leo Carillo, Blanche Bates, David War- 
 field, Cyril Maude, George Arliss, Leo Ditrichstein, 
 John Drew, Nazimova, Sir John Forbes- Robertson, 
 the delightful Barry mores. Rose Coghlan and, oh, 
 ever so many more, to say nothing of the promising 
 young players in the public eye whom I may have 
 overlooked. 
 
 Why inject bugbears, and live in the past anyhow! 
 
 1:793
 
 i
 
 i
 
 THE SILENT DRAMA 
 
 GOD'S Great Picture Book" is what a Mas- 
 sachusetts clergyman designates the screen. 
 It is more than that — for it not only 
 gives us scenic beauty visualized, but it goes farther 
 than the printed page. Already, motion pictures 
 are shown in our schoolrooms, church vestries, and 
 elsewhere, outside the theatres, for educational, 
 enlightening and religious purposes. While this is 
 being written, none other than that master mind, 
 David Wark Griffith, is preparing a spectacle built 
 upon an episode in the Bible. It is already known 
 that the Bible, with its 1189 chapters, is to be filmed 
 from cover to cover, in a series of 52 pictures by 
 Raymond Wells. A city is to be built, if not al- 
 ready completed, on one of the hills of Cafifornia, 
 to be named Jerusalem. This is not in any sense 
 another "Passion Play," but 100 reels of Bible life 
 in animation. Probably some of the scenes will 
 be in color, so rapidly is that end of the art ad- 
 
 C833
 
 STAGE AND SCREEN 
 
 vancing. The Prizma films are a treat to the 
 eye, and the late Theodore Roosevelt, on seeing one 
 made in Arizona said, "Here we have a gigantic 
 paint pot of nature, scenery unparalleled through- 
 out the world." 
 
 Well do I recall the travel reels put out by that 
 Frenchman, Charles Pathe, picturing Northern 
 France and Belgium in colors, and made before 
 any desecration by the German army. How fortu- 
 nate we have these pictures for posterity! We also 
 owe a debt to Burton Holmes, the super-camera- 
 man, who continues to take us to unexplored coun- 
 tries we may never see in person. A picture showing 
 the Rhine, taken before the war, caused this remark 
 from a couple back of me: "Say, it cost us about 
 $2,000 to go up the Rhine and we never got near 
 that wonderful spot." "I should say not," said 
 his companion; "and to think we are seeing it here 
 for 25 cents." A patron across the aisle said she 
 thought it all wrong to show children bathing there 
 without clothing. So much for the calibre of certain 
 ones who assume to dictate what we may or may 
 not see! "To the pure all things are pure" — even 
 nude children. 
 
 Times have indeed changed since Shakespeare 
 said "All the world's a stage" for now we have that 
 
 LS42
 
 ALLA NAZIMOVA, 
 in "The Brat"
 
 THE SILENT DRAMA 
 
 Utterance in fact through the cinema. In the old 
 days of the little intimate theatre, the house had 
 to imagine suitable settings to the dramatic action 
 of the players. Now we have all countries shown 
 us in scenery, salty oceans, climatic conditions, tall 
 forests, noted mountains, and all that makes up the 
 universe, to say nothing of flesh and blood men and 
 women with their pantomimic art. Then, too, 
 think of the boon it is to those enduring mental 
 troubles and to the deaf. It is to them what music 
 is to the blind, besides being a pretty good cure for 
 the "blues," for the time being anyhow. 
 
 It is of interest to note the utterances of prominent 
 men and women who value the screen, in preserving 
 for posterity the art of great players. *'I believe 
 thoroughly in the motion picture, present and future. 
 It is the most democratic of arts — a new one 
 composed of the co-operative eff'orts of author, 
 director, photographer and actor" says Mary Rob- 
 erts Rinehart, author of one of the best books and 
 screen plays of '19, "Twenty-three and One-Half 
 Hours* Leave.'* 
 
 None other than Alia Nazimova has this to say: 
 "Many of the greatest actors and actresses have 
 held themselves aloof from the screen, assuming an 
 air of superiority — a great mistake, ft is suicidal. 
 
 1:85]
 
 STAGE AND SCREEN 
 
 None of us want to feel that when our years of 
 acting have ended, we will be forgotten, yet this is 
 inevitable, unless we take advantage of the op- 
 portunity offered by the camera. Nor is this 
 mere egotism, but an appreciation of the fact that 
 now we have a chance to contribute our offerings 
 to the world's permanent art." 
 
 The day has passed for disparaging words against 
 the screen plays. Oftentimes we have heard per- 
 sons acknowledge seeing a picture, prefacing the 
 remark with an apology for having gone, yet at the 
 same time extolling the play. Actors by the thou- 
 sands have openly sneered at the pictures, declaring 
 they would "never get into the things," they felt 
 so sure of their jobs — maybe. It is difficult 
 today to find many players of note who have not 
 made the venture, successful or otherwise, the list 
 being much smaller of those on the outside than 
 within. Then came alleged reformers, who set up 
 a howl about the evils and menace of the motion 
 pictures, yet who sit calmly through silly lingerie, 
 bed room and semi-nude presentations, paying high 
 prices too, with never a qualm or quiver of an 
 eyelash. When such pictures are shown on the 
 screen, oh my, what a diff'erence! Take "The 
 Scarlet Letter," that masterpiece of Hawthorne. 
 
 n863
 
 MAXINE ELLIOTT 
 
 JANE COWL 
 
 MME. PETROVA 
 
 NANCE O'NEIL
 
 THE SILENT DRAMA 
 
 When 'screened the amalgamated moralists yelled 
 "Unfit to see." Another type, looking for trouble 
 and evil, declared that picture houses were too 
 dark and crimes were usually committed in dark- 
 ness; that the average child is tempted by what 
 he sees on the screen, failing to realize that he 
 might be impressed and tempted in the opposite 
 direction. Among the countless lessons taught in 
 the films, even for adults, are the triumph of right 
 over wrong, care of dumb beasts, birds and the 
 like, to say nothing of the lessons taught in geog- 
 raphy depicting God's country from Maine to Cali- 
 fornia and all around the world. 
 
 Bertha Kalich says, "The picture is a foe to ig- 
 norance, is building and creating a new literature 
 of its own, and is wonderful propaganda, an un- 
 studied portray er of the right and wrong things to 
 do." Maxine Elliott who has been in several 
 pictures calls the screen "Narrative Sculpture." 
 David Griffith, an absolute authority on screen- 
 craft, says "The truths of history today are limited 
 to the few attending colleges and universities; the 
 motion picture can carry these truths to the entire 
 world, while at the same time bringing diversion to 
 the masses. No newspaper succeeds in pleasing 
 everybody, no motion picture dealing with moral.
 
 STAGE AND SCREEN 
 
 religious, or educational matter can avoid offending 
 some person's prejudice. Censors have prejudices. 
 American citizens should be free to use their own 
 judgment, to make their own standards, and to en- 
 tertain and instruct themselves as they see fit within 
 the limits of decency and order. The efforts of 
 censors is to prevent this liberty." 
 
 True, some photoplays are trashy, vulgar and 
 uninteresting to the intelhgent mind, and few of 
 us find merit in slapstick which is growing into 
 disfavor, as people are waking up to the value of 
 the screen. At the same time, countless beings 
 enjoy that sort of thing, so why assume an atti- 
 tude of "hofier than thou"? Mack Sennett gets 
 millions of laughs daily through his Hvely outputs. 
 What's the harm? Laughter is a big tonic and 
 saves doctors' bills — sometimes. 
 
 While the screen needs no defence or advertising, 
 it is well to dwell on the type of men who endorse 
 it, like the late Theodore Roosevelt who valued it 
 to the utmost and who deplored censorship, of 
 pictures especially, when they are already passed 
 upon by supposedly intelligent men and women 
 and are all within the law anyhow. He saw the good 
 in them, and realized their constant improvement. 
 The Hon. Franklin K. Lane, who has taken up the 
 
 CSS]
 
 CHARLES KENT 
 
 GEORGE FAWCETT 
 
 FREDERICK WARDE 
 
 HERBERT STANDING
 
 THE SILENT DRAMA 
 
 work of Americanization, said to the motion picture 
 men, whom he gathered around him in Washington, 
 "You can render a greater service than schools or 
 the press of the country, since one half milhon 
 persons in the United States can neither read nor 
 write English, but the screen speaks a universal 
 language." He believed that persons who have 
 plenty of resources for amusement can afford to 
 take their pleasures lightly and can forget educa- 
 tion, such as it happens to be, but those who are 
 Hmited to the screen for their only form of amuse- 
 ment must look to this medium for both recreation 
 and intellectual stimulus. Motion pictures are un- 
 doubtedly closer to the people than either literature 
 or the drama (spoken). It was the good fortune 
 of the screen during the World War to bring mes- 
 sages to eager ones all over the world and to cheer 
 up countless homesick boys "over there." The 
 news weeklies alone are more than worth while and 
 are a glorification of the newspaper. 
 
 ZSgl
 
 II 
 
 STOCK COMPANIES 
 
 TALK about stock companies of the stage, 
 how about the Vftagraph company, now in 
 its 23rd year? Albert Smith deserves men- 
 tion for what he alone has contributed toward the 
 history of the screen and he is still at his post, 
 with the good old trademark — Vitagraph, back of 
 him. Can you recall the names of the company 
 of players, many of whom have graduated from 
 from this school and become stars in other com- 
 panies? Some remain, like handsome Alice Joyce, 
 Corinne Griffith, Harry Morey, Charles Kent and 
 Earle Williams. That company never put out a 
 weak picture, and most of them are worthy of 
 "repeats" for generations to come, as all are free 
 from suggestiveness in any form. Space does not 
 permit extended mention of the players, but can we 
 forget Florence Turner, the English actress, the 
 first from that country to enter the screen from the 
 speaking stage? Rose Tapley was our first one to 
 
 1:903
 
 ALICE BRADY 
 
 MARY MILES MINTER 
 
 CONSTANCE BINNEY 
 
 WANDA HAWTEY
 
 STOCK COMPANIES 
 
 enter the field. She had played with Mansfield 
 and other big players in many cities. Her initial 
 picture was made in '05 when the pantomimic art 
 was gaining its first recognition, but her real train- 
 ing came when she joined the Vitagraph company 
 in '09 for continuous service, though she Jobbed a 
 bit for the speaking stage. Then there were Charles 
 Richman, Joseph Kilgour, Louise Beaudet, Harry 
 Davenport, son of E. L. Davenport, who became a 
 director, and now is on the stage once more. His 
 late brother Edgar did commendable work before 
 the camera; Peggy Hyland, Frank Currier; the late 
 Sidney Drew; his son S. Rankin Drew, who gave 
 his life in the World War; Mrs. Drew who was 
 Lucille McVey; Marshall Neilan, now the youngest 
 and one of the most notable directors, whose name 
 spells ability as evidenced in his ** Daddy- Long- 
 Legs" and more recently "The Riveras End"; 
 Bessie Love; Antonio Moreno, Naomi Childers, 
 that handsome pair Julia Swayne Gordon and 
 Eulalie Jensen, Tom Mills, also a director, "Bob" 
 Edeson, Virginia Pearson, Marc MacDermott, 
 Ernest Truex, Lillian Walker, Edith Storey, Leah 
 Baird, Anita Stewart, Bobby Connelly, and many 
 more. 
 
 Oh, for the good old days of the Biograph and
 
 STAGE AND SCREEN 
 
 Essanay companies! The latter put out the O. 
 Henry pictures, and the George Ade "Fables in 
 Slang'* played by such artists as Sydney Ainsworth, 
 Frank Glendon, Ernest Maupin and John Cossar. 
 Then there were the Skinner stories, with Bryant 
 Washburn, to say nothing of such players as Richard 
 Travers, Shirley Mason, Tsura Aoki, and little Mary 
 McAllister whose pictures ought to be seen every 
 season, such as the series **Do Children Count?'* 
 As to the Biograph company one cannot dis- 
 connect the name of Griffith, the discoverer of so 
 much talent, like the Gish sisters, Bobby Harron, 
 Miriam Cooper, Blanche Sweet, Mae Marsh, Jack 
 Mulhall, the incomparable Mary Pickford, whose 
 first picture was "The Violin Maker of Cremona*' 
 in 'op. From that company came Henry Walthall, 
 the "Booth of the Screen** whose work is immortal- 
 ized in the "Birth of a Nation'* and "The Confes- 
 sion.** Lionel Barrymore and Thomas Jefferson 
 were members and Donald Crisp, the "heavy** in 
 "Broken Blossoms,** and now a director. 
 
 SOME TYPES 
 
 Among many players to elevate the screen are 
 Edith Story who supported E. H. Sothern in his 
 picture version of "If I Were King.** Perhaps
 
 VERNON STEEL 
 
 JOHN BARRYMORE 
 
 WYNDHAM STANDING
 
 STOCK COMPANIES 
 
 her best picture was "The Island of Regeneration," 
 played with "Tony" Moreno, and little Bobby 
 Connelly as the child. Nance O'Neil has done 
 exceptional work before the camera her art in ex- 
 pression and repression aiding her greatly. William 
 Courtleigh is now seen; his young son made a hit 
 in "Neal of the Navy" and then went out of life 
 too soon by many years. William Courtenay has 
 also several pictures to his credit. Edwin Stevens 
 is another who seems in demand for heavy parts, 
 usually of the villain type. He is an actor of promi- 
 nence, like Frank Keenan, H. B. Warner and Forrest 
 Robinson, all well known to patrons of both stage 
 and screen. Robert Warwick lines up for ver- 
 satility, starting first in musical comedies and 
 light operas, then in the speaking play, in support 
 of Mary Mannering and others. His screen work is 
 of a high order. The "Heart of a Hero" — the 
 story of Nathan Hale — is one of his best, a part 
 of it taken in old Marblehead, for atmosphere. 
 In a quiet way Major Warwick did effective work 
 during the war, and made a record "over there" 
 on the army intelligence staff at the front. 
 
 C933
 
 Ill 
 
 NOTABLE PLAYS AND PLAYERS 
 
 M 
 
 INNIE MADDERN FISKE made one 
 good picture, "Vanity Fair," most of it 
 done in and around historic Louisburg 
 Square, Boston — so like a bit of "Ole Lunnon." 
 Her cousin and protegee, Emily Stevens, has made 
 a record in several pictures, perhaps "The Slacker" 
 being the most popular, made during the war, as 
 it was a stimulus in itself. In my opinion "The 
 Soul of a Woman'* stands out as the most artistic, 
 and in this was George LeGuere, an uncommonly 
 versatile young actor. This picture had a strong 
 moral lesson, though far from preachy. Miss 
 Stevens first appeared on the speaking stage in 
 *oi with Mrs. Fiske in "Becky Sharp" and returns 
 occasionally to the footlights. Marguerite Snow, 
 beautiful as well as clever, is the wife of James 
 Cruze, the director, and first appeared in "The 
 College Widow"; then came "Rosemary" and 
 others. She supported Francis X. Bushman for 
 
 C94II
 
 NOTABLE PLAYS AND PLAYERS 
 
 awhile, and goes to the speaking stage now and 
 then, as in "Broadway Jones," in which she created 
 a part, along with the author, George Cohan, who 
 has also been on the screen successfully. Anita 
 Stewart is popular and now a star in her own right. 
 Enid Bennett has made marked strides the past 
 two seasons, under the direction of her husband 
 Fred Niblo. Her "Stepping Out" with Niles Welch 
 was one of the best plays of the past season, as it 
 struck a keynote in domestic hfe, and carried a 
 pretty good lesson along. Wilham Faversham has 
 been in one or two good pictures hke **The Silver 
 King" and "The Right of Way." 
 
 Elsie Ferguson, who goes from stage to screen 
 and vice versa, is an actress par excellence, her art 
 ever uppermost. She can take a close-up "without 
 fear and trembhng," and never requires the usually 
 heavy make-up which too many use. Since her 
 stage play "The Strange Woman," in *I3, milhons 
 have seen her pantomimic work in pictures, suf- 
 ficiently varied to suit all tastes. She can wear 
 fme raiment, without looking hke a fashion plate, 
 and she never descends to vampire methods — 
 perish the thought! Her "Heart of the Rose" 
 with that finished actor Wyndham Standing is one 
 of the best in her repertoire, and it had a patriotic
 
 STAGE AND SCREEN 
 
 appeal. The gamut of emotions was fairly well 
 run and such a picture is good for revival genera- 
 tions hence. In these too brief sketches I have 
 little to do with the private hves of our subjects, 
 yet it is good to say of Elise Ferguson that she is a 
 supremely happy woman in her domestic affairs, 
 and lives up to high standards. She is rightly 
 called the "Patrician of the photoplay." 
 
 Thomas Meighan became a star of the first mag- 
 nitude, when he appeared as the champion crook in 
 "The Miracle Man," the last of the quartette to 
 be converted. He has ever been a favorite, of the 
 strong sterling type, and owes much to his training, 
 under the Paramount banner. Truly directors have 
 given him some choice feminine stars like Elsie 
 Ferguson in "Heart of the Wilds"; Marie Doro in 
 "Common Ground"; Billie Burke in "Pursuit of 
 Polly"; Blanche Sweet in "Secret Sin"; Mar- 
 guerite Clark in "Out of a Clear Sky "; Mary Pick- 
 ford in "M'liss"; Betty Compson in "The Miracle 
 Man"; and later Gloria Swanson in "Male and 
 Female." There's the gamut for you 'in screen 
 love making! He married Frances Ring of the 
 Boston theatrical family of Rings, which includes 
 Blanche, and is a lover par excellence in real, as 
 well as in "reel" life. 
 
 1:963
 
 ENIU BENNETT (MRS. FRED NIBLO)
 
 NOTABLE PLAYS AND PLAYERS 
 
 House Peters is another fine type of the robust 
 actor, his best picture being **The Great Divide" 
 done in Arizona. Douglas Fairbanks has a large 
 following and delights in athletic stunts. Eugene 
 O'Brien is said to make love better on the screen 
 than any of the younger leads. Needless to say, 
 he is vastly popular with the ladies in front, but in 
 no sense a matinee idol, for he abhors that sort of 
 adulation. He is at present in very ** select" com- 
 pany with Elsie Janis, Constance Binney, Elaine 
 Hammerstein and Wanda Hawley. 
 
 Otis Skinner, rated by critical authorities as 
 America's foremost romantic player of the present 
 day, is now immortalized in one of his notable 
 plays, "Kismet," so the younger generation of 
 "near" actors and others will be benefited. His 
 plastic, picturesque style, buoyancy and exuberance, 
 fit him exactly for the screen. Man^ temptations 
 went his way to face the camera, before he yielded. 
 "Kismet" in all its splendor, with the only Haji 
 the beggar, when seen, will arouse intense interest. 
 He is the son of a clergyman and the world of 
 theatre-goers need no introduction regarding his 
 place on the American stage. 
 
 The Cooper family known for generations is ably 
 represented in this country on stage and screen. 
 
 1:973
 
 STAGE AND SCREEN 
 
 Take H. Cooper-CIifFe whose Nobody in "Every- 
 woman" was so artistic. He came here with 
 Wilson Barrett years ago, was in support of Irving 
 and Terry, playing many parts from opera to tragedy. 
 He is descended from the famous Kembles of which 
 family the late Sarah Siddons was a member. Greta 
 Kemble Cooper in the microscopic role in "One 
 Night in Rome," produced in '19, is a niece of 
 Cliffe who was also in the play. Her sister Violet 
 was with Wilham Gillette in *'Dear Brutus" and will 
 be recalled in "Peg o' my Heart." Another sister 
 is Lillian Kemble Cooper, heard in "Hitchy Koo" 
 with the inimitable Raymond Hitchcock, who has 
 done screen stunts, and there are doubtless others 
 not known to me. H. Cooper-Cliffe has added 
 lustre to the screen as well, and played Mans- 
 field's part in a pictured version of "The Parisian 
 Romance." 
 
 Monroe Salisbury is a favorite and will be re- 
 called for his fine portrayal of the Indian, Ales- 
 sandro, in "Ramona," a pretentious picturization 
 of Helen Hunt Jackson's famous novel. This pic- 
 ture was put on for runs and had unique features, 
 in that the stage was set with street scenes, and 
 living people (all in color) who moved about with 
 guitars and violins between the reels, most effectively.
 
 WALLACE REID
 
 NOTABLE PLAYS AND PLAYERS 
 
 Cyril Maude has been seen in his stage success, 
 "Peer Gynt." The Tell sisters — Alma and Ohve, 
 have dehghted us. EfFie Shannon, widow of Her- 
 bert Kelsey, made one quite good picture, "Her 
 Boy" another war play but quite unhke "The 
 Slacker" in theme. Pauhne Frederick has a large 
 following, and she has never failed to please when 
 given the right sort of picture. Petrova is unique 
 and, like Nazimova, stands out clearly as unsur- 
 passed along artistic Hues, pecuhar to her tem- 
 perament. We hked "The Brat" best for the 
 latter, though "The Heart of a Child" is conceded 
 the better one. In most of her pictures her hus- 
 band, Charles Bryant, plays the hero. He also wrote 
 the scenario for the last mentioned. May AHi- 
 son is tremendously popular. "Fair and Warmer," 
 for Miss AUison, was one scream, but we hke best 
 to recall her work in support of the lamented Har- 
 old Lockwood. Then there's the perennial Fanny 
 Ward, and the still lovely Lilhan Russell, who 
 simply refuse to grow old. Maxine Elliott, Lillian 
 Russell, and Viola Allen have all faced the camera, 
 but not with the hoped-for success. 
 
 Marguerite Clark is in a class by herself on stage 
 and screen. Who will ever forget her in Margaret 
 Mayo's "Baby Mine" which millions have now 
 
 1:993
 
 STAGE AND SCREEN 
 
 seen screened, with the irrepressible Madge Ken- 
 nedy? Little Clark has a large following, among 
 adults and children. Like Mary Pickford, she 
 commands attention of all "in front" no matter 
 the age. We feel that Miss Clark's best picture is 
 "Still Waters'* made along the Delaware water 
 gap, and with a real circus in action. No person 
 seems too old to turn the hourglass back to the good 
 old circus days. A picture that lines up with that 
 is "Polly of the Circus" with Mae Marsh and 
 handsome Vernon Steel, as the ministerial hero. 
 Here too, we get the "three ring" features as in 
 "One-Thing-at-a-time-0'Day" featuring Bert Lytell, 
 in a clever Metro comedy. Another star who 
 went from comedy, a la slapstick, into the compe- 
 tent hands of directors of straight comedy is Mabel 
 Normand. One of her most effective pictures is 
 "Joan of Plattsburg" taken during the war at the 
 camp of that name, where she got mixed up with 
 the officers during a trench drill, and incidentally 
 rounded up German spies and found a screen 
 husband with shoulder straps. This is a good, 
 wholesome play, picturing actual happenings at this 
 training school — the idea of Gen. Leonard Wood. 
 
 Henry Kolker, besides being an exceptional actor, 
 of many parts, on both stage and screen, has now 
 
 I 100 3
 
 CHARLES RAY 
 
 MARGUERITE CLARK 
 
 BILLIE BURKE 
 
 THEODORE ROBERTS
 
 NOTABLE PLAYS AND PLAYERS 
 
 become a director, as well as author and scenario 
 writer, his skill shown in '*The Third Generation" 
 put out early this year. In this is one of the 
 wonder -child actresses — Peggy Cartwright. Wal- 
 lace Reid, son of the late eminent author, Hal 
 Reid, who wrote "The Confession,'* needs no in- 
 troduction, as a Paramount leading man during 
 his screen career. He married Dorothy Davenport, 
 daughter of Harry Davenport, therefore grand- 
 daughter of the late E. L. Davenport. His per- 
 sonality is compelling on the screen. Among other 
 leading men to come to mind at the moment are 
 the Moore brothers, Tom, Matt and Owen; Pedro 
 de Cordoba, the Spaniard, first seen by me in sup- 
 port of Farrar in an early picture; Mahlon Hamilton 
 and Thomas Holding who have played with Petrova 
 and other big stars; Lou Tellegen, former leading 
 man for Bernhardt, and now in support of Ger- 
 aldine Farrar, his wife, "The Flame of the Desert" 
 being their very best picture to date; George Beban; 
 in a class by himself especially in Italian character, 
 Niles Welch; C. Aubrey Smith seen first in "The 
 Witching Hour'* with young Jack Sherrill who has 
 advanced so rapidly;" Frank Mills, Milton Sills and 
 that prince of lovers, Conway Tearle, are a trio with 
 methods alike; Jack Livingstone; Hamilton Revelle
 
 STAGE AND SCREEN 
 
 who played with Mary Garden ; Monty Blue — re- 
 call his " Petty grew's Girl"?; W. Lawson Butt, 
 brother of stately Clara Butt the singer, and who 
 was in "The Miracle Man"; Pell Trenton; Jack 
 Pickford whose best picture was "The Spirit of 
 Seventeen"; Robert Elliott, the lover in "Joan of 
 Plattsburg"; James Morrison; Robert Gordon, hero 
 of "Missing" and a protege of J. Stuart Blackton; 
 Wheeler Oakman; John Bowers; Harrison Ford; 
 Rod La Roque; Tom Forman, especially clever in 
 all he does; Edward Martindell, who was first seen 
 by me in Mary Pickford's "The Foundling"; Rupert 
 Julian ; E. K. Lincoln ; Orren Johnson ; King Baggot ; 
 Edmund Breese, one of the oldtime players of the 
 stage; Creighton Hale; J. Warren Kerrigan; William 
 Russell; Henry Hull; James L. Crane, who married 
 Alice Brady and her lead on stage and before the 
 camera. He is a son of Dr. Frank Crane, author, 
 lecturer and now on the screen in the picture "De- 
 mocracy." Then there are Dorothy Dalton, little 
 Vivian Martin, and those dancing sprites. May 
 Murray and Anne Pennington. 
 
 Emmy Wehlen, the dainty Austrian actress, now 
 an American, is most artistic on both stage and 
 screen, a convincing interpretator of character, 
 with a charm of personality and delicacy of expres- 
 
 C 102]
 
 EUGENE O'BRIEN
 
 NOTABLE PLAYS AND PLAYERS 
 
 sion, like Bessie Barriscale, another finished player. 
 Viola Dana is gifted along many lines, and scored in 
 **The Poor Little Rich Girl" before the screen 
 claimed her. She also supported Thomas Jefferson 
 in his father's masterpiece **Rip Van Winkle." 
 Florence Vidor is one of the screen beauties greatly 
 resembhng Ahce Joyce. Olive Thomas and Mil- 
 dred Harris are of the dainty type with youth 
 on their side — plus beauty. Blanche Bates gave 
 us a taste of her pantomimic art in **The Girl of 
 the Golden West," supported by that fine actor 
 Hobart Bosworth. 
 
 Emma Dunn has given us a remarkable picture 
 in her "Old Lady 31," a longtime stage success. 
 Many newcomers are listed day by day in the 
 press, among them Marjorie Rambeau, David War- 
 field, Doris Keane, Thomas Ross, Marguerite Sylva, 
 Paul Gilmore, Martha Mansfield, Bessie McCoy- 
 Davis and Rosalind Ivan, the list growing rapidly 
 for both sexes. 
 
 Much talent has descended from parents to those 
 now in the picture hmelight, many with stage suc- 
 cesses to their credit hke the Barrymore trio. The 
 Jeff'erson brothers, Harry Davenport and Sydney 
 Booth, the last to bear such historic names as players; 
 Lydia Yeamens Titus; Ethel Grey Terry, daughter
 
 STAGE AND SCREEN 
 
 of Lillian Lawrence, who has also been on the 
 screen; Derwent Hall Caine, son of Hall Caine; 
 Willie Collier, Jr., who made such a hit in **The 
 Bugle Call,'* a picture to see often; Florence Reed; 
 Frank Mayo, and doubtless many more whom I 
 do not recall. 
 
 Walter Hampden before his hit in Hamlet ap- 
 peared in at least one picture — "The Warfare of 
 the Flesh," with the late Theodore Friebus, and 
 Marie Shotwell. William S. Hart, who is soon to 
 retire from acting, does so many things and so well, 
 it is hard to place him on any special list. Like 
 Tom Mix, he runs to Western plays, yet fits well in 
 drawing room scenes. He has a strong personality 
 and his stunts are audacious. 
 
 Clara Kimball Young ranks very high in screen 
 history, as conscientious, good to look at, and ever 
 an artist. She has inherited gifts and uses them 
 wisely. One of the best plays seen last season 
 was her " Eyes of Youth." Her repertoire is varied, 
 and she has had more screen lovers than any other 
 star. Annette Kellerman the Australian swimmer 
 has done artistic toying with the waters, and al- 
 ways a picture of grace and daring. Pavlowa has 
 disclosed her art on the screen as have other 
 dancers. 
 
 C1043
 
 BERT LYTELL 
 
 MAY ALLISON 
 
 VIOLA DANA 
 
 TAYLOR HOLMES
 
 IV 
 
 SCREEN CHARACTERS 
 
 SO many types appear in the silent drama 
 that is it difficult to classify them. Theodore 
 Roberts comes first, as a veteran and a fine 
 example of the actor who does things well at all 
 times; whether in the character of a villain, roue, 
 the hard hearted father, scheming business man, 
 or the "goody goody" sort. Raymond Hatton is 
 another, though younger, and is exceptionally versa- 
 tile. We have seen him play the King, heavy 
 villain, crook, lover, soldier, etc., with equal skill. 
 Take the Arbuckle men — those jolly comedians, 
 giving us clean fun, especially Macklyn, he of the 
 rotund figure, known to all, in many a good play 
 like "The Reform Candidate.'* William Crane if 
 he never makes another picture has "David Harum" 
 to his credit, and it will never grow old. In this the 
 lamented Harold Lockwood made one of his earli- 
 est appearances. The Farnum brothers both are 
 capable of being entrusted with varied parts. Wil- 
 li 105]
 
 STAGE AND SCREEN 
 
 liam goes in for the virile but we like to recall his 
 playing in "A Tale of Two Cities'* and Dustin in 
 "David Garick," though "The Corsican Brothers" 
 is a close rival. Charles S. Abbe, one of the few 
 left of the Boston Museum, a versatile comedian, 
 made us all laugh in his first screen play "Niobe," 
 with Hazel Dawn. He started as a "supe" in 
 "Michael Strogoff " at the old Boston theatre, and 
 he has supported Booth. Tully Marshall is worthy 
 of special mention, also William Tooker and Tyrone 
 Power, first recalled on the screen in the somewhat 
 sensational picture, "Where are my Children?**, 
 one of the early presentations of the so-called mo- 
 rality or problem plays, which were more or less 
 "eye-openers** to social conditions and which the 
 Government rightly approved of, during the war. 
 Frank Bacon, co-author with Winchell Smith in the 
 play "Lightnin*** which has made a record in New 
 York's theatrical history, has a delightful personality on 
 the screen, second only to that on the stage. Then, 
 for middle aged men who do some character work 
 are Charles Clary, Winter Hall, who played the Bel- 
 gian King in that delightful picture play "'Till I Come 
 Back to You*' with Bryant Washburn, Florence 
 Vidor and a troupe of kiddies. J. Barney Sherry and 
 Charles Clark must be listed as dependable always. 
 1:106 3
 
 LILLIAN GISH 
 
 MARY PICKFORD 
 
 ALICE JOYCE 
 
 MAE MARSH
 
 SCREEN CHARACTERS 
 
 The late John Hare appeared in pictures with 
 Peggy Hyland in "Caste." He created the part of 
 Eccles on the speaking stage, so it was a genuine 
 treat to see him do it in pantomime. 
 
 Playing strong parts in and out of character are 
 longtime actors like Melbourne MacDowell, who 
 made his first stage appearance as Charles the 
 Wrestler in "As You Like It" with Adelaide Neil- 
 son. Later he joined Fanny Davenport, and they 
 married. He became widely known as a powerful 
 leading man of many parts. He has a distinguished 
 screen presence, and strong personahty. Another 
 of that sort is Frank Losee who retains his good 
 looks and dignity. Alec Francis, he of the twink- 
 ling eye, plays equally well the indulgent father, 
 the peacemaker, the man of affairs, the some time 
 butler, but never have we seen him doing the screen 
 villain. He, like the two just mentioned, comes 
 from the speaking stage, first in England with the 
 Kendalls, then in several Broadway successes. He 
 is college bred, a one time lawyer, a lover of music, 
 a traveller, and was once in the British army. One 
 of Losee's best pictures is "The Old Homestead" 
 immortalized by the late Denman Thompson. 
 
 Edward Connelly, who played the rascal Rasputin 
 
 in "The Fall of the Romanoffs" — a remarkable 
 
 C 107 3
 
 STAGE AND SCREEN 
 
 picture with Nance O'Neil as the Czarina — has had 
 a change of heart, for now we have him in an ideal 
 part in "Shore Acres/* the play of long runs, written 
 and produced by the late James Heme. Mr. 
 Connelly was in the original company, and played 
 Heme's part in the London production after the 
 death of Mr. Heme in 'oi. Mrs. Heme presented 
 the play to Mr. Connelly as her husband's logical 
 successor. In the picture play — one of the best of 
 its kind yet produced — Mr. Connelly has the sup- 
 port of dainty Alice Lake, who scored in "Lom- 
 bardy Ltd." with the effervescent Bert Lytell. 
 Holmes Herbert is another strong actor first seen in 
 the screen version of *'A Man Without a Country" 
 and more recently in "His House in Order," a pic- 
 ture way ahead of the speaking version, with Elsie 
 Ferguson scoring again. 
 
 Joseph J. Dowling, he of "The Miracle Man" 
 fame, is still doing wonderful work, as evidenced in 
 his later success, "The Kentucky Colonel," a good 
 adaptation of Opie Read's book. He is a civil war 
 veteran, but not so venerable, as he was only a 
 drummer boy and is yet a fine example of physical 
 manhood, tall, erect and alert, with clear cut features 
 and a strong personality. 
 
 Herbert Standing — there's an actor for you, to 
 
 CioS^
 
 HOPE HAMPTON
 
 1 
 
 i
 
 SCREEN CHARACTERS 
 
 say nothing of his big contribution to the list of 
 players! His six sons have all made good, especially 
 Wyndham, one of the best screen leads, as evidenced 
 in "The Bugle Call" a distinctly patriotic picture 
 in which he shared honors with young Willie Collier 
 (called ** Buster"). Then we cannot forget the 
 big play of a season or two ago, ** Rose of the World," 
 with Elsie Ferguson. Another Standing son is 
 Guy, who served in the British Navy and was deco- 
 rated by King George. Then "we have with us" 
 Percy, Harold and Herbert, Jr. Two have gone to 
 their reward, Jack and Aubrey who gave his life 
 for the cause on Flanders Field in France. Wynd- 
 ham is named for his uncle. Sir Charles Wyndham, 
 and is a nephew of that other veteran actor and 
 screen player, William Carleton. Herbert Standing 
 is a handsome man of much dignity, who says *'The 
 photoplay needs the actor and what is more the 
 actor needs the screen." He came to it with a 
 wealth of experience, acting with Irving, Hare, 
 Wyndham and the like. 
 
 C 1093
 
 GRANDES DAMES AND OTHERS 
 
 THERE are many in middle life and past it, 
 who adorn the screen and essay varied roles, 
 running the gamut from hag to Dowager, 
 like Edythe Chapman, wife of that excellent player, 
 James Neill. She oftentimes sacrifices her good 
 looks to suit the character as in "Everywoman" 
 in which she showed her versatihty to advan- 
 tage. Kate Lester, the stately one, adorns drawing 
 room scenes and is ever a picture of dignity. Her 
 mother in "Little Women" endeared her to all. 
 Eleanor Hancock is a beauty whom it is a treat to 
 see, with her whitened hair, fine figure and taste in 
 dress. Eugenie Besserer, who played the mother 
 in "The Crisis," one of the best pictures screened, is 
 another, good to look at. Helen Dunbar and Adele 
 Harrington should be mentioned, as they never 
 fail in the least to satisfy, especially when playing 
 the society leader. Miss Farrington was on the 
 speaking stage 20 years and sang in light opera at 
 Clio]
 
 ANITA STEWART
 
 GRANDES DAMES AND OTHERS 
 
 one time. Edith Wynne Matthison, the eminent 
 Enghsh actress, still in her prime, did a good bit of 
 work in "The Governor's Lady," so well presented 
 on the stage by Emma Dunn. Constance Collier 
 has not been seen for a long while, but we can re- 
 call with pleasure her ** Tongues of Men" supported 
 by Forrest Stanley. Other stage-stars to shine are 
 Charlotte Walker, Julia Arthur, Ivy Troutman, Hen- 
 rietta Crosman, Katherine Grey, May Irwin and May 
 Robson of the comedienne type, Mary Alden who 
 played the housekeeper in "The Birth of a Nation," 
 Rita Jolivet, Ann Murdoch, Billie Burke, Laura Hope 
 Crews, Maude Fealy, Gail Kane, Lillian Kemble, 
 Florence Short, who played Nancy Hanks in "The 
 Son of Democracy," as fine a picture for the young to 
 see as has ever been screened. In "The Idol Dancer" 
 she has a vastly different role, but it shows versatility. 
 Opera stars have made the venture though not 
 always successful in facing the merciless camera. 
 Geraldine Farrar has been the most conspicuous, 
 because of her rare dramatic ability which will 
 stand her in good stead should her voice fail in the 
 future. Her best picture thus far is " Flame of the 
 Desert." Mary Garden was a picture, but did 
 not have the vivacity called for to be satisfactory. 
 **The only" Caruso appeared in at least one good
 
 STAGE AND SCREEN 
 
 picture, "My Cousin," which had the added at- 
 traction of introducing a scene from "Paghacci" 
 actually done in the Metropohtan Opera House. 
 Carohna White supported him and did well. Frieda 
 Hempel signed up to appear but to date I have 
 not seen the picture. Singers are not alone in being 
 unsuccessful on the screen, for many have tried it 
 — one or two noted beauties for instance. Among 
 the young players to achieve unbounded success 
 are Violet Heming, the star in "Everywoman"; 
 Wanda Hawley; Doris Kenyon; Constance Binney, 
 whose "Erstwhile Susan" scored heavily; Mary 
 Miles Minter who made a hit in "The Littlest 
 Rebel" with the Farnum brothers, and has many 
 screen plays to her credit — all good and wholesome. 
 Bessie Love will be enjoyed in "Old Curiosity 
 Shop" years hence, as all the Dickens dramatiza- 
 tions will. Miss Love bears a startling resemblance 
 to Mary Pickford in feature and little mannerisms, 
 and I predict a big future for her. Miriam Cooper, 
 first seen in "The Birth of a Nation" and the past 
 season in "Evangeline," a well directed play, some 
 scenes done in the Acadian Valley in Nova Scotia, 
 is deserving of a place here. 
 
 There are a number of Orientals on the screen, 
 headed by that Japanese artist-actor Sessue
 
 ELSIE JANIS 
 
 MADGE KENNEDY 
 
 *:^-^- 
 
 ELAINE HAMMERSTEIN 
 
 MABEL NORM AND
 
 GRANDES DAMES AND OTHERS 
 
 Hayakawa, and his charming wife Tsura Aoki, 
 who has been commissioned by a president of a 
 syndicate of 32 theatres in Japan and Korea to 
 modernize and adapt for the Nipponese stage the 
 plays of great British and American writers. Her 
 modernization of Shakespeare is the first to be done 
 in Japanese. Mr. Hayawaka made his first great 
 success in *'The Cheat'* done with Fannie Ward 
 and said to be one of the best pictures ever shown. 
 It was dramatized for the stage from the screen, and 
 proved a dismal failure as the Oriental atmosphere 
 was not reproduced and it lacked the fine hand of 
 the Japanese actor, to give it atmosphere. The 
 couple came from Japan several years ago, are 
 highly educated, and supremely happy in their sunny 
 Cahfornia home. Then we have Charles Fang, 
 who served the late Admiral Dewey in '98 as cook 
 on the Olympia. In many pictures of recent sea- 
 sons, we see hundreds of Orientals as in that su- 
 preme classic "Broken Blossoms" a page from the 
 "Limehouse Tales." This picture created a furore in 
 London and will continue to do wherever it is shown. 
 Here we discovered a new star in Richard Barthelmess 
 whom we had seen in many parts, but it took the 
 hand of Griffith to develop him in this, also in 
 "The Idol Dancer," and his future fame is assured.
 
 STAGE ANDSCREEN 
 
 THE KIDDIES 
 
 As to the kiddies, hats off, for they are wonders! 
 There is Ben Alexander in "Hearts of the World" 
 and many other pictures, big-eyed Bobby Connelly, 
 who grew up in the Vitagraph studios over in Brook- 
 lyn, New York; Frankie Lee, the little cripple in 
 "The Miracle Man" — ever forget him?; the ir- 
 repressible Lee sisters who seem to have grown out 
 of our play going existence; Marie Osborne "Little 
 Mary Sunshine" always accompanied by the darkey 
 chap who convulses the "fans"; Madge Evans; the 
 Hastings twins, Barbara and Adele, who alternate 
 in "The Copperhead"; Georgie Stone; Anita Snell; 
 Gordon Griffith; the Blackton children; Lilhan 
 Read, used in "Civilization"; Ethelmary Oakland; 
 Francis Carpenter; Jean Eraser; the Steuart children; 
 Zoe Bech; Wesley Barry, he of the freckles who 
 shared the honors with Mary Pickford in "Daddy- 
 long-legs" and was especially funny as Boots in 
 "Male and Female"; Mary McAllister — the best 
 of the girls; Pat Moore — he of the big eyes. Watch 
 these players, for their training serves them well 
 for the future, as grown ups. The children are 
 idolized in the studios and, fortunately the stupid
 
 MAJOR ROBERT WARWICK 
 
 Singer, Actor, Soldier
 
 GRANDES DAMES AND OTHERS 
 
 laws prevailing in Massachusetts and elsewhere 
 cannot touch these dear tots as age limit does not 
 apply to the screen. Wesley Barry has reached 
 stardom thanks to Marshall Neilan who discovered 
 his talent long ago. 
 
 MUSIC 
 
 Perhaps we will revise our opinion of what con- 
 stitutes popular music when we observe 30-cent 
 picture houses advertising their programs of music 
 to accompany this or that picture. Here is an 
 evolution from the older days when such an 
 announcement might have kept all but the high- 
 brows away. The patrons have become rather 
 critical of late so that all the best picture houses 
 have high class organists to meet the ever increas- 
 ing demand for suitable accompaniments. Boston 
 has one in Edith Lang — her very name suggesting 
 the musician. She has issued a pretentious and 
 highly valuable book called "Musical Accompani- 
 ment of Moving Pictures" and it is full of material. 
 We used to have, among sundry nuisances, the 
 rhythm fiend — the time beater, who disturbed 
 our equanimity, but now when the organist becomes 
 conscious of this, the tune is changed, which calls 
 the aforesaid fiend "to time" anyhow.
 
 VI 
 
 COMEDIANS 
 
 WHEN is a comedy not a comedy? Well, 
 when the house goes wild over horse- 
 play and slapstick, and the organ grinds 
 out circus music, one wonders! Charles ChapHn 
 and Roscoe Arbuckle are the stars that twinkle 
 along these lines, and they have a big following. 
 Maybe the tired business man needs to have his 
 risibihties aroused by antics — the man who would 
 not find much fun in the quiet humor, and genuine 
 comedy — so his tastes are gratified, and it is all 
 "within the law." Happily there is less of the 
 former pie-throwing, nose thumbing, and knock- 
 overs into pools of water than of yore. Quite the 
 funniest comedy in the repertoire of Charles Chaphn 
 is "Shoulder Arms" written and directed by himself. 
 It is a clever satire on some features of the war, is 
 clean, and, as the more proper patrons said, "is a 
 scream." The Christie comedies are wholesome, 
 and from that company graduated Betty Compson,
 
 Jl^ 
 
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 ^ 
 
 %. 
 
 (^^...0 t 'C^''^^-- 
 
 NORMA AND CONSTANCE TALMADGE
 
 COMEDIANS 
 
 the young girl in "The Miracle Man." Perhaps 
 the best comedies and which all enjoy are those put 
 out for the late Sidney Drew and his clever wife 
 (formerly Lucille McVey). Mrs. Drew is giving us 
 still more, and has John Cumberland with her. 
 The Drews' best picture was their last one together 
 ''Squared.'* Taylor Holmes, he of "His Majesty 
 Bunker Bean" fame, excels in high class comedy 
 and now has an estabhshed place. One of the 
 funniest pictures along that line last season was 
 "A Pair of Sixes" with the only Maude Eburne, 
 who created the part for the stage. Fred Stone, a 
 product of Colorado, has made one or two excur- 
 sions into filmdom, displaying his acrobatic skill 
 and agility. For a combination of humor and 
 pathos commend me to Will Rogers. My first 
 sight of him anywhere was in "Nearly Married" 
 with none other than Peggy Wood, who is now tour- 
 ing in "Buddies" in her first picture. Though 
 Bert Lytell lines up as an all round actor, a player 
 of many parts, perhaps the funniest thing he gave 
 us last season was "One-Thing-at-a-tIme-0'Day." 
 Another picture to stand out, and good for a repeat 
 anywhere, is "Lombardy Ltd." Charles Ray, one 
 of the most finished of all the young leads can play 
 any part, but rarely does he fail to inject pathos
 
 STAGE AND SCREEN 
 
 with his humor. He shines in small town pictures, 
 and clean farce. He is a *'fmd" of another prince 
 of directors — Thomas I nee, who gave us the 
 spectacle "Civilization.*' Douglas MacLean is con- 
 sidered the cleverest of them all, in his subtle work, 
 as shown in "Twenty-Three and One-Half Hours' 
 Leave." He and his little leading lady, Doris May, 
 are called the "Heavenly Twins" of the screen. 
 Then we have Walter Hiers (who looks like Dickens* 
 fat boy) and droll Johnny Hines, all good with 
 never a trace of vulgarity. 
 
 CiiS]
 
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 VII 
 
 GREAT PICTURE PLAYS 
 
 IT would take chapters to tell of the great pictures 
 seen the past ten or more years, and their in- 
 dividual merits, or of the men "behind the 
 throne" — the directors like Cecil de Mille, George 
 Loane Tucker, the Ince Brothers, Charles Miller, 
 Maurice Tourneur, WiUiam Nigh, young Neilan, 
 Maxwell Karger, Albert Cappelani, Emile Chautard, 
 Hobart Henley, Hugo Ballin, Herbert Brenon and 
 others, all of whom are entitled to our praise. These, 
 and more to come, are making the pictures better 
 day by day. 
 
 Some of the big pictures of the past season were 
 "The Miracle Man," "Broken Blossoms," "Jekyll 
 and Hyde," "Male and Female" — big in directing, 
 photography and individual work. The first named 
 is the most appealing dramatic production I have 
 yet seen, taken as a whole, with its highly satis- 
 factory ending. Little departure was made from 
 the stage version, seen at George Cohan's theatre 
 
 Cup]
 
 STAGE AND SCREEN 
 
 when first put on. Here's a play to show fifty 
 years hence, because of its lessons, minus preach- 
 ment. It discloses the dregs and wine of the world, 
 how crooked lives are made straight, sordid ones 
 made bright, and all through the spirituality of a 
 sightless old man — a glorified patriarch. More 
 experiences, good and bad, are crowded into this 
 picture than people know in a hfetime. Joseph J. 
 Dowhng, the grand old man, little realizes how his 
 influence goes forth to those in front. In the 
 picture we have one of the old ladies of the screen — 
 Ruby Lafayette, nearing four score — the one who 
 played in "Mother of Mine" pictured from the 
 poem. She entered the films at 73, having played 
 on the stage with Booth and others like him. 
 "Broken Blossoms" is a screen classic, a simple 
 story told in pictures, and it took a firm hold here and 
 in London, especially where "Chinks" prevail. It 
 was Griffith's third big picture, but in no sense a 
 spectacle, like the first two. Another fine picture 
 was "The Copperhead" with Lionel Barrymore, 
 made from the play, which scored a long run in New 
 York City with the same star. If there is anyone 
 who cannot thrill to its superb tug of emotion, 
 who cannot leave its viewing a better man or woman, 
 boy or girl, all we can say is, that he has no 
 
 I 120]
 
 ROSE TAPLEY 
 
 WILLIAM S. HART
 
 GREAT PICTURE PLAYS 
 
 mind, heart, or soul, and never will have. Milhons 
 have viewed this picture with dimmed eyes and 
 none can escape its strange spell. It has historic 
 features, introducing the great emancipator, and it 
 lends distinction to any theatre showing it. Lionel's 
 brother John has scored heavily in "Jekyll and 
 Hyde" a motion picture masterpiece and one of 
 the surprises of the year. The picture is gruesome 
 — so was the play, with Mansfield, but above all is 
 the art of the actor transcendant in a high degree. 
 It has been truly a Barrymore year all round on 
 both stage and screen. 
 
 Among lighter plays to recall with pleasure was 
 "The Star Spangled Banner," dedicated to the 
 U. S. Marines, In which a young English prig of a 
 lad figures and finds his very soul just through 
 the loyalty of the "soldiers of the sea" to their 
 commanding officer, the chap's stepfather — a fine 
 picture for the young, with a big moral. "PoIIy- 
 anna" lines up as one that will never grow old and 
 one of the best Mary Pickford has given with the 
 possible exception of "Stella Maris." 
 
 ni20
 
 VIII 
 
 WHY CENSORSHIP? 
 
 TO censor or not to censor, is a much mooted 
 question in spite of the fact that motion 
 pictures are improving rapidly day by day 
 — why? Because producers are awake to the fact 
 that pubKc taste is being elevated, theatre patrons 
 of the educated classes are turning their attention 
 to the silent drama, and filling the theatres which 
 give them the best the market affords. The pulse 
 is felt and so we have better pictures. 
 
 Still the censorship bugbear confronts us, and must 
 be met with vigor. President Wilson in 191 6 said 
 "Censorship is inconsistent with the spirit of Ameri- 
 can institutions." There are, however, two kinds, 
 the legal which is obnoxious, and the co-operative. 
 Besides being distinctly un-American it is un- 
 democratic and entirely unnecessary. State laws, 
 especially in Massachusetts, are quite strict, and 
 provide for the suppression of dehberately vicious 
 and obscene presentations on stage and screen, so 
 
 C 122]
 
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 WHY CENSORSHIP? 
 
 why the self-appointed censors? In the National 
 Board of Review we have a body of intelligent, 
 broad minded men, who give freely of their time, so 
 that commercialism cannot be charged against them. 
 They endeavor to represent a point of view of the 
 public as well as their own, and act accordingly 
 on conviction. It is clearly apparent, therefore, 
 that this group of men are performing a public 
 service not to be under-valued, and for the millions 
 who frequent daily the picture theatres the country 
 over. 
 
 Producers have gladly submitted themselves to 
 these men, and they well know they cannot "put 
 over" a picture which is unclean or suggestive. 
 The trade mark of the National Board of Review 
 is or should be a guarantee of excellence. They 
 review 95 per cent of all pictures being put forth and 
 it is a significant fact that only a few were condemned 
 in 191 9. This proves that the output is clean on 
 the whole, and what the adult masses pay to see. 
 
 It is only a dull narrow mind that seeks to impose 
 its personal tastes by force of law upon its neighbor. 
 Such people set up a howl over the nude in art and 
 would drape the Venus de Milo, and other master- 
 pieces, just because the young hopefuls of their 
 families might be tempted to imitate and go about in 
 
 1:1233
 
 STAGE AND SCREEN 
 
 the "altogether." There is quite as much need for 
 estabhshing censorship of the spoken play — the 
 very titles of which are sometimes suggestive and 
 idiotic; they might attack the press for unsavory 
 divorce details, etc., the opera, books, magazines, 
 paintings, sculpture, even conversation, as motion 
 pictures, which are advancing so rapidly in quality 
 and power, as to make all this unnecessary. The 
 pictures long since left the stage of infancy and have 
 attained marvellous proportions the world over. 
 
 Shakespeare could not have written his plays 
 under censorship, and some authors would have 
 been damned or silenced. How about the play 
 "Camille,'* done for generations and by the most emi- 
 nent players and in every language? This play is 
 based on what? Any talk of censorship? No 
 great art can be produced under the club of the 
 police. Shakespeare did not write his plays for the 
 masses, certainly not for children. The screen 
 deals entirely with the masses — hence its popu- 
 larity. 
 
 To show the fickleness of those who clamor for 
 highbrow and cleaner pictures, why did they not 
 support "The Blue Bird" with its wonderful ac- 
 companiment of music, "Prunella," a classic and 
 beautifully done by Marguerite Clark, "Stella 
 
 C 1243
 
 WHY CENSORSHIP? 
 
 Maris," Mary Pickford's best picture, — and many 
 others we might mention. These pictures proved 
 commercial failures, and yet social workers and 
 club women pick flaws in "The Miracle Man,'* 
 "Broken Blossoms" and their like, faihng to grasp 
 the soul of these wonderful pictures. One stupid 
 woman in Boston criticized "Little Women," be- 
 cause there was so much kissing. 
 
 As to the howl about children, for whom thou- 
 sands of pictures are easily available, they have no 
 more place in a theatre showing adult films, than 
 they have at any speaking play "over their heads." 
 This is a matter for the parents to control, and a 
 good community spirit is best — that which co- 
 operates with the local manager who will be glad 
 to meet any situation sanely presented. 
 
 Motion pictures are put out for adults and not for 
 the immature mind, yet we can list hundreds of 
 pictures which are understood by both young and 
 old. Pictures showing animals, a real circus and 
 God's country here and there interest all. Edison 
 said once, "Give me a fifteen minute picture and I 
 can teach more geography than the printed page 
 can give in a month." Presumably he referred to 
 the average travel reel. Childcn in many pictures 
 have shown clearly the Bible text "A little child 
 
 C 125;]
 
 STAGE AND SCREEN 
 
 shall lead them," but what do our children know 
 or care about the problem plays and their like? 
 Not one in a thousand can grasp the meaning of a 
 play, even with a strong moral purpose, showing 
 the villain in all his wickedness — there, to give the 
 play the right ending. What does a ten year old, 
 know about the regeneration of the bad man, about 
 love, romance, the errors of life, temptations and 
 all of it? He has no business there, and is usually 
 a nuisance for all about him with his restlessness 
 and audible remarks. Why should we adults over 
 1 6 see only pictures suited for kids? A blow at the 
 freedom of the screen is a forerunner of attempts 
 by well meaning, but narrow, malcontents and 
 professional busybodies, to try to muzzle the press. 
 It can't be done, however. We should censure such 
 would-be censors and continue to enjoy liberty and 
 the pursuit of happiness as set forth in the Con- 
 stitution of the United States. 
 
 C1263
 
 IX 
 
 WHY THEY GO 
 
 HERE are some of the reasons given why 
 people go to the motion picture houses. 
 The cost is small, and the entertainment 
 informal; we can just drop in and do not have to 
 bother about reserved seats; we get effects in the 
 pictures that the stage can never produce; we can 
 go in and leave at will, having no large investment 
 to consider; we get our money's worth no matter 
 how indifferent the picture may be. During the 
 season there may be one or two stage successes worth 
 the price, but in a picture house one is sure to get at 
 least one feature worth while; in small towns, the 
 stage shows are jokes, so what chance do the people 
 have to see anything worth while, except via the 
 screen, for cheap plays are worse than bad pictures 
 and we lose less money by patronizing the film 
 houses. One man declared that he went regularly 
 to see the pictures for the following reasons — 
 ** because they give me science, history, drama, and
 
 ^ 
 
 STAGE AND SCREEN 
 
 comedy; because they bring me dreams and facts 
 while I am alive, and alert, as 1 sit comfortably in 
 quiet surroundings in a seat that costs little more 
 than the tariff on a good cigar." Another said "I 
 go because I can see the master dramas of all time, 
 better than their authors dreamed; I can see the 
 great fictions brought to life and enacted rather than 
 told and can experience the tremendous and ap- 
 pealing griefs, mourning with the stricken and sor- 
 rowing with the bereaved, to my own betterment." 
 
 ni28 3
 
 p 
 
 X 
 
 WHERE THE CAMERA GOES 
 
 A CAUSTIC critic once said in print that the 
 motion pictures were no good and the camera 
 does not get anywhere. Is that so? Well, 
 we all know what Burton Holmes has done for us 
 with his camera, taking us to countries we might 
 never see otherwise and for a nominal sum. Let 
 us see where the camera has already gone. 
 Under the sea. 
 Into the crater oj Vesuvius. 
 Far inside both Arctic and Antarctic circles. 
 Three thousand Jeet under ground. 
 On the glaciers and in crevasses oj the Alps. 
 Out under the bottom of the seas and in the coal mines. 
 Under the Hudson River and Niagara Falls. 
 To the headwaters oJ the Amazon. 
 Into the jungles oj the Tropics. 
 On top oj the Pyramids of Egypt. 
 Into the trenches oj Europe and on decks oj warships. 
 Thousands oJ Jeet in the air in aeroplanes. 
 
 I 1293
 
 STAGE AND SCREEN 
 
 Upon the pilots oj engines in swijt action. 
 
 Upon the Eiffel Tower and into sewers and bank 
 
 vaults. 
 Into the palaces of Kings and in the slums everywhere. 
 Into the catacombs of Rome. 
 In front of Alaska glaciers where ice blocks bigger than 
 
 ten story buildings were falling off. 
 Other places too numerous to mention. 
 
 I 1303
 
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