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Annette Kellerman as Neptune's Daughter
( Universal)
By WALTER H. BERNARD
Forty-fourth Street, between Sherry's and the Hippodrome, is a very busy street about eight o'clock in the evening. The cJubs empty their silk-hatted members into it, and start them, often unsteadily I fear, on their way to be amused. The Harvard and Yale clubs stand like stern sentinels frowning at each other. The Algonquin welcomes an influx of thirsty mortals, and sends them away again smacking their lips. Taxicabs and cabs rush back and forth, taking and receiving gaily dressed people at Sherry's. In marked contrast, the long, tired line of ticket-buyers crawls slowly to the gallery entrance of the Hippodrome.
In the midst of these surroundings, I entered the Royalton one evening for a quiet smoke in the Brown Club. The rooms were empty and quiet when I went in, but hardly had I lighted my pipe and perched my feet on a near-by chair when the door opened and in walked George Hibbett. "Well, old man," he said, "this is bully; I am glad to find a classmate and some one to talk to, for I'm so lonesome that it seems as if I must confide my troubles to some one. This town is so busy that it has little time to bother with my small affairs, and I confess that I am up against a hard proposition."
I was surprised to hear this from George, as I had understood that he had been doing some dramatic work, and had gained a very creditable reputation as an actor.
' ' What the deuce is troubling you ? ' ' I asked, unable to hide my surprise. "I thought you were starring in one of Belasco's plays, and that all the critics in New York were fairly begging for a few words from you regarding the correct interpretation of Hamlet, or the probable success of an English drama if presented on our coarse and dance-crazy American stage."
"No, this is not true," said George seriously; "I am not yet classed with David Warfield, but I suppose that I have done well. You see I am facing the problem which confronts many actors today. It is the question of how best to maintain the high standards of dramatic arl profitably. 'An for art's sake' is a wonderful thought, but the executed idea does net pay hills. The young actor today musl struggle against overwhelming Ddds to become successful, and must be content with a small income. Tt is wonderful to conceive the character that one portrays, live the part and transmit it to others in the way that you think it should he transmitted; it is great to feel that you are a pan of a
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