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pany to play parks during the summer season. Several seasons in stock at Dallas, Texas; Kansas City, Missouri; Chicago, and other cities followed, which gave her ample opportunity to perfect herself in the higher art. A season with A. H. Woods next followed, and at twenty she saw the wonderful possibilities of the silent drama. The Vitagraph engaged her for several pictures, and while here Miss Handworth realized the splendid opportunities the camera offered to the finished artist — the outdoor work, ever changing scenes and locations, and last, but not least, her longing for a permanent home and a year-round engagement could at last become a reality.
Pathe, about that time, decided to produce pictures in America, and Miss Handworth was immediately engaged to play the leads, and her success has been marvelous. The several hundred roles she has been called upon to portray have received her closest attention to detail. She was one of the first photoplayers to realize that every move and look must mean something, and to improvise lines that had a direct bearing upon the story the film was to tell. Among her favorite pictures are ^'A Wrecked Life," "The Nation's Peril," "The Simple Maid," "The Secret Formula," "The President's Pardon," "The Schoolma'm," "The Climax." Her name and face are familiar the world over. Daily she receives scores of letters from her admirers, praising her work on the screen. Many of these letters are written in strange languages, and bearing postmarks from India, Russia, Australia, and even Japan and China, all of which are answered and a photograph enclosed.
This year Miss Handworth will be featured by the Excelsior Feature Film Company, and her many friends will see her at her best in "The Toll of Mam