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By FRANK V. BRUNER
of his own jungle home in India. This hustling, noisy studio atmosphere made him sick. Those nauseating blue lights, filtering thru the foliage and checkering everything with lights and shadows, were no substitute for his own Indian sun. So he paced back and forth and now and then grumbled in a deep gi'owl. He was not mad — ‘just annoyed, and a bit homesick for his own jungle domain.
The star, attired in natty riding breeches, stood chatting with a sinister looking Hindu, in w'hite silk swathings, and a queer outlandish creature who bore a strange resemblance to the tiger himself. His face was streaked and striped until one could imagine almost that he belonged in some way to the tiger family. The Hindu and the Tiger Face wbuld presently assume fiendish expression and diabolical fury. They would pick up the dainty Miss Roland and toss her to the ravenous tiger in the cage. But just now the three, Hindu, Tiger Face and .Star, were discussing dancing.
The Hindu averred that the modern fox trot was the most graceful of all dances, and the Tiger Face held for the new walking waltz. But Miss Roland emphatically declared that the old-fashioned skirt dance of twenty years back was the real perfection of terpsichorean art. And she gave a demonstration.
“Why, Ruth!” exclaimed the swarthy Hindu, “where did you pick up that step? I remember seeing a girl do that back in Steubenville, Ohio, when I was a kid. The ten twenty thirty ladies freewith-one-paid-ticket-on Mondaynight shows used to come along, and between the acts the ingenue who played Harriet, The Persecuted School Teacher in the drama used to put on her dancing clothe; and come out in front of the curtain and do those steps. Why, it’s the old skirt dance.”
“Certainly it is,” responded Miss Roland. “That old skirt dance, which I believe today could be revived with great success, brought me in my . bread and butter for many years. I have
danced it in evqry theater and town hall on the Pacific Coast time and time again.”
Thus the truth will out. Ruth Roland, known from Medicine Hat to Melbourne as the fearless heroine of the Pathe serials, was once an infant phenomenon. She made her first stage appearance at the tender age of three and one-half years and thereafter tripped and bowed behind the footlights steadily until she was seventeen, when, like hundreds of other girls, she responded to the lure of the camera and left the stage “flat on the lot,” as they say around the circus.
Ruth was born in 'Frisco and she was literally born into the profession. Her mother was Elizabeth Houser, who was known in her girlhood as the California nightingale. {Continued on page 66)
Miss Roland was the first child actress to play in the Hawaiian Islands. She made such a hit that she remained six months. The , picture at the left shows this early Hawaiian influence
Photos by Evans, L, A.
(Thirty -five)