New York Clipper (Jul 1923)

July 4, 1923 THE NEW YORK CLIPPER 13 ness, infinnity and physical disability and hospital cases, and as this fund makes many requests for financial aid to the pub- lic, largely from benefits thronghout the country, as well as for occasional dona- tions, and often receives bequests from peo- ple interested in our work, I am particu- larly anxious to disassociate from the pub- lic mind any connection between this pro- posed new institution and the regular ac- tivities and purposes of the Actors' Fund of America. Daniel From man, "President Actors' Fund." New York, June 25, 1923. PLAYS WORTH PRESERVING (Reprinted from ihe Sun and Globe.) The season now past bears witness against the detractors of modem dramatic art. Critics expressed repeated approval in the course of the season. Such a year of drama as we have had reawakens the old but ever vital question: What is to become of the best contem- porary plays? Plays, however successful, ususally sink from view, like vacation nov- els. Indeed, the novel may linger on some few shelves; the play vanishes wholly. From Broadway to the road, to the stock companies, to oblivion, is the fate of the best and the worst. Oearly there is a place for the long discussed national con- servatory of drama. Recent revivals of classic drama, light opera and three popular plays may gen- erate a movement to establish an organiza- tion for preserving and keeping alive the best and both past and present dramatic productions. The Players' Oub seeks evoi now to revive each year some dramatic masterpiece of old. The Actors' Equity Association also has seen the point of doing something similar, as recent production of "The Rivals" indicated. A perpetually renewed demand is responsible for _ the great number of Shakespearean offerings. That this demand really extends to drama of less ancient vintage is likely. In time either the commercial interests or the purely artistic interests must fill the need, which William A. Brady evidently felt, but apparently could not capitalize when he at- tempted a revival policy some years ago. ' It is probable that nearly evciy one cher- cherishes memory of a favorite play. Many of our memory's darlings would no doubt crumble like mummies when brought to latter day light. But it seems likely that there is enough sound material to provide a short season of deep contemporaiy inter- est. A play of two decades ago might not conform to present standards, but if con- cerned with a vital subject, if historically valuable, it might well surmount small discrepancies in construction, costuming and dialogue. It is this contrast of period production that often spells success for re- vivak. 'Modem "adaptations" ordinarily meet the fate they deserve. "The Heart of Maryland," a representa- tive play of the melodramatic era, treats with a subject that is always fresh. This Civil War play is no classic, but a con- servation policy, limited to classics, would be limited indeed. An important functioa of a conservatory would be experiment to discover which such great successes of yesteryear were worth preserving. The list of possibilities is long. Friends would no doubt speak up for one or an- other of "Strongheart," '"Kindling," "Hie World and His Wife." "The Second in Command," "When We Were Twenty- one," "Monsieur Beaucaire," "Captain Jinks of the Horse Marines," "Glittering Gloria," "The Masqueraders," "The Runaway Girl," "The Witching Hour." Such a list leaves untouched the more recent productions and also the store of drama now standard, like "Camille," "The Two Orphans," "Madame Sans Gene." "Magda." WOMEN TO DIRECT FILMS Women directors are a rarity in moving picture circles. A few years ago the suc- cessful ones could be counted on the fingers of one hand, and in the last year the retire- ment of several successful women photo- play managers has narrowed the field down to almost zero. However, with the ap- pointment of Frances Marion as co-director with Chester Franklin of Norma Tal- madge's next photoplay, "^ast of Desire," it looks as if the women are coining back into their own again. Answers to Qaeries H.—Nat. G. Goodwin appeared in.;'The Black Flag" at the Union Square Theatre, New York, from August 21, 1882, to Sep- tember 16, 1882. Olds.—Ada Rehan and Kate Byron were sisters. There were three sisters originally, known as the O'Neill Sisters.' BcII.—George Dixon and Alfred GrifTo fought a draw at the Casino, Boston, in 1882. Santa.—Victor Herbert was bom in Dublin, Ireland, in 1859. He joincd*the Metropolitan Orchestra, New York, in 1886 as solo cellist. Webster—The word "cue" is derived from the Latin, cauda atail, and as used upon the stage, is applied to the closing wof ds of a player's speiech, that give a hint to the next speaker to begin his lines. Noks.—D. Blakely managed Sousa's tour at that time. McK.—Lawrence Barrett died March 2J, 1891; Edwin Booth died June 7, 1893. Nap.—Kathryn Kidder starred in "Mme. Sans Gene" under direction of Augustus Pitou. Dan.—Jenny Lind was bom October 20. 1820. in Stockholm, Sweden, and died November 2, 1887, in London, England. Fan.—Miner's Eighth Avenue Theatre, New York, was opened on November 21, 1881. Union.—^The Mayor of New York re- ceived a salary of $10,000 per year in 1884. Toy.—Mile. Pilar Morin starred in "Mme. Butterfly" under direction of David Belasco. W. R.—Charles Hawtrey made his first appearance in America under direction of Charles Frohman in "A Messenger From Mars." 2S YEARS AGO Nellie and Lizzie McCoy were with Hoyt and McKee's "A Stranger in New York" Co. Tommy Leary joined the Frawley Co. at the CoIuiirt>ia Theatre^' San Francisco, as comedian. Great Britain passed the.law prohibiting dogs being brought in frodi any foreign country. Performances for the benefit of Oscar Hammerstein were'given at the Madison Square Garden, the Garden Theatre, the Madison Square Roof Garden and the Harlem Opera House, New York. About $6,000 was realized. Charles Jerome died at Red Bank, N. J. "Knobs O'-T^fBjiessee," by Hal Reid. was produced by Lincoln J. Carter at the .Acad- emy of Music, Chicago.' The Harlem Speedway on the banks of the Harlem River, New York, was opened. It was restricted to the use of light vehicles, adapted for the speeding of light harness horses. Tom Sharker knocked out Gus Ruhlin at the Greater New York Athletic Oub, Coney Island. William Morris was manager of George Linean's New York ofBce on East Four- teenth street. New York. . P. J: Casey was manager of the Booking Department of the Hayes Amnsement Co. in the Nelson Theatre, Springfield, Mass. I Rialto Rattles j NOT WHEN WORIONG When Corse Payton's suit against Frank A. Kenney came up in court, the "world's best bad actor" sUted, "I do as I like, but I never take a drink while I am worlong." Let's see. How many years ago did Corse work? LErS HAVE CHERRIES "Yes," warbled the comic, "we have no bananas." "Ha. ha," yelled back the gallery fun- ster, "that's alright, the other fellow's coming with pineapples." TWO HALF.SHOTS MAKE ONE We wonder if the two sharpshooting acts now waging an open war against each other are really as quick and good in shooting their guns as they have been in shooting off their mouths. COUGHS UP AFTER YEAR Newspaper headline says "man coughs up bullet after year." There are many actors who arc willing to have managers cough up what is owed them after five years. But this is seldom done. THRILL FOR BOX OFFICE MAN There are. many ways that the folks of the theatre get thrills. Clarence Jacob* son, treasurer of the Harris Theatre, says he gets one every time he goes to a certain Long Beach hotel and pays seventy-five cents for a dish of ice cream. ACTOR GOT THE HEIRESS I asked her father for her hand. She was an heiress fair. But an actor grabbed the heiress While I only got the air. NOT IN THAT BUSINESS The actor had been out of work for months, He told his friends that he was a boot-legger. But all they bad to do was see bis yfaX To know that he was just a "bam* and-egger." THE ACTOR-FARMER "The first fifty ears are the haideat," said the actor-farmer as he gathered in his early com. THE BANANA SHORTAGE If the shortage of bananas keeps ap Rockwell and Fox and Olsen and JohnsoQ will have to change their acts. REVUE COSTUMES Now is the time for some enterprising press agent to pull a yam that a couple of the chorus girls in the show were fired be- cause manager caught them with too much clothes on. Anyway, these revue costumes are" Conducive to cleanliness, a girl has to wash her back or else do a blackface. OCEAN ATTRACTIONS With the vaudeville houses opening for the Summer at the various beaches the offices arc thinking of forming a wet cir- cuit for the playing of ocean current at- tractions. .It'll take a lot of sand to do that. SPOILING AN ACT The best way to spoil a good boy and girl double ad is to have them get married to each other. NOT DONE IN nCTURES "Evangeline'' was written fifty ytaxt ago by J. Oievcr Goodwin and Edward E. luce and the Lone nsheiman has never been done In pictoces. Feimdcd fci HSi bjr Fnnk Qumb PubUilied bjr tlui CUPPER CORPORA'nON Orland W. Vaushan President aod Secretary Frederick C. MuUer Treasurer 16S8 Broadway, New York Telepbone Circle 9112-9113 WALTER VAUGHAN, Editor New York, Wednesday, July 4, 1923 Eniered Tune 24, 1879, at the Post Office at New York, N. Y., ha second class inatter. under (he act of M.lrch 3, 1879. 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THE ACTORS' HOSPITAL The plan to build a theatrical hospital for actors and others associated with the theatrical business, to cost $1,000,000, is now well under way and a committee to collect this vast sum is now about ready to commence operations. While the move may be an admirable one, it is not receiving the undivided^ sup- Sirt of everyone in the theatrical business, ne man in particular, Daniel Frohman, president of the Actors' Fund, in a letter written last week, states that he does not see the necessity of a million dollar hos- pital merely to house and take care of the needy ones of the theatrical profession, be- cause all such hospital cases are promptly taken care of by the Actors' Fund of America. Mr. Frohman in his letter to a daily newspaper says: "Last Sunday you printed an article on the proposed theatrical hospital for actors, for which $1,000,000,1 understand, is to be asked in the autumn, and which has as its patrons many prominent actors and ac- tresses. Among the list of patrons for this proposed establishment you will find none of those associated in the manage- ment of the Actors' Fund of America and no names of any theatrical managers. "I personally do not deprecate the esteb- lishment of :my charitable organization, especially when it is one intended to bene- fit the people of the theatre. I am writing you merely to make clear to those who are likely to become interested in this million dollar hospital that it has no association or connection with that other remaricable charity the Actors' Fund of America, which was organized forty-one years ago by the great leaders of our profession. "Personally I do not see the necessity of a million dollar hospital merely to house and take care of the needy ones in our pro- fession, because all such hospital cases are promptly taken care of by the Actors' Fund of America. "There are not enough theatrical cases of this kind to quite preempt the neetls of SO gigantic an institution, as. the proposed millkin dollar one, worthy as its purpose may be. The Actors' Fund expends .an- nually more than $100,000 for relief, sick-