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156 Ci)e Cficatre
efforts in the former capacity as rich in individuality and human appeal as his work as a player has always been.
Lloyd B. Carleton, of the Lubin Company, Philadelphia, began his career as a director and producer of plays when a child. He built theatres and scenery out of cigar boxes, and painted cardboards, with paper puppets for actors. And also wrote and rehearsed little plays in which his pla3miates took part and the neighbors were audience. The scenery moved on grooves, and the lighting v/as done by tiny oil lamps. At the early age of nine years he showed mechanical and dramatic ability. As a member of the Seventh Regiment, N. G. S. N. Y., he v/as one of the founders of the Dramatic Club, and took part in many of their productions. After a short career as a lawyer, Mr. Carleton joined an art school, from which he graduated v/ith honors. But the call of the stage was too strong, and he became a member of the Charles Frohman Company, playing with Henry Miller, Annie Russel and Virginia Harned. He was in Miss Maude Adams' Company when she made her debut as a star in "The Little Minister," and remained with her in all her productions, until he was sent by Mr. Frohman to Australia to produce "Peter Pan" for J. C. Williamson, with Tittel Brune as the star. Since then he has directed The Percy Haswell Stock Company, The George Fawcett Stock Company, The Davison Stock Company of Milwaukee, and The Hunter-Bradford Stock Company. Mr. Carleton became prominent by the production of "Lorna Doone" for Harry Hamlin of Chicago at the Grand Opera House. Becoming interested in the moving-picture productions and having experimented for years in camera work and its possibili