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

of§)Cience 371 But simultaneously with the decline in the vogue of the celebrities of the stage came the decision of the film producers to exploit the most talented and popular photoplayers, and now the electric signs in front of the nation's playhouses emblazon with such names as Florence Lawrence, Gene Gauntier, Maud Fealy, Barbara Tennant, Alice Joyce, Florence Turner, John Bunny, Maurice Costello, Kathlyn Williams, Bessie Eyton, Marion Leonard, Romaine Fielding, Harry C. Myers, and a score more of equally compelling names, not one of which, however, was wont to conjure in theatredom as recently as two years ago. Florence Lawrence has the reputation of being the highest salaried screen star of her sex. Miss Lawrence has gone from one film company to another during the past seven years, always increasing in popularity and adding to the amount in her pay envelope. Nor has her persistent progress been impeded through the' coming into filmdom of famous stage players. Like Mary Pickford, Marion Leonard and a few of their colleagues who entered filmdom about the same time Miss Lawrence did, the latter is a greater attraction to-day than ever before, and the multiple-reel productions of the Victor brand, in which she is featured, are of that kind the exhibitors fight for. Frederick Mace I recall as one of Harry Askin's comedians in the productions of musical comedies that were invariably first presented in the Askin playhouse in Chicago. Mace is just another one of the many comic opera and musical comedy artists who have found a tremendous vogue on the screen. Long with the American Biograph Company, Mace was one of that incomparable quartet of comedians who gave to that company's output individuality.