The theatre of science; a volume of progress and achievement in the motion picture industry (1914)

130 C&e Cftcatre tistic use of a monocle, and the never apparent effort to create sympathy for Storm and Glory by emphasizing his villainy, represented the nearest approach to a pantomimic triumph which in another age was called "plays without words" that the motion-picture art has ever recorded. James Lackaye is one of the recent additions to the Vitagraph players, but who quickly demonstrated his fitness for pictorial plays. Etienne Girardot came to the Brooklyn studio even more recently. The latter has as yet not had a chance to create a character of the calibre of "Charley's Aunt," but on the other hand has shown that he is exceptionally versatile. The ladies of the Vitagraph stock company have nearly all had stage careers, though quite a number who were hardly knov/n on the stage became celebrities through their screen work. Edith Storey came to the company as a child already experienced in the vicissitudes of the theatre. This young lady has undertaken about everything in the line of intrepidity that a moving-picture actress must always be prepared for. When New York audiences were applauding her Glory Quayle, Miss Storey was three thousand miles away from the Manhattan Opera House, rehearsing before the camera a daring series of pictures. When asked why she takes chances of this nature, her reply was characteristic of the modern photoplayer. Said Miss Storey: "One is led on through sheer enthusiasm, prompted greatly, too, by a desire to please the director and, above all, the heads of the institution to whom we all owe our advance in the ranks." This remark of Miss Storey's recalls to my mind that v/hen Florence Turner, "the Vitagraph Girl," left the organization after the most prolonged consecutive