Disraeli (United Artists) (1921)

Stories About the Players and Some Shorts MARGARET DALE HAS ENVIA¬ BLE STAGE RECORD Margaret Dale, who has the role of “Mrs. Noel Travers” in the George Arliss photoplay production “Disraeli,” which will be the attraction at the . Theatre for .. beginning .. has the dis¬ tinction of being the only actress to play this role throughout the five years of its run on the legitimate stage. When “Disraeli” was first produced, at the Princess Theatre, Montreal, Canada, on January 23,1911, Miss Dale was the lady villain and she played the part without interruption for the long run. Miss Dale is one of the best known actresses on the American stage and enjoys a niche all of her own in the annals of stage history in this country. ~ irn in Philadelphia, she was edu¬ cated in Mrs. Head’s School in Ger¬ mantown; a famous institution in its day. When a mere slip of a girl Miss Dale was given a place in the Gerard Avenue Theatre Stock Company, Phila¬ delphia, and her rise was rapid. She combines beauty and talent and has a magnificent voice. Margaret Dale was leading lady for Henry Miller in such plays as “Hearts¬ ease” and “The Only Way,” and in addition to playing in the New York runs she went on tour with Mr. Mil¬ ler’s company and became a favorite throughout the country. We next find her doing leading roles with Joihn Drew in “The Mummy and the Hum¬ ming Bird” and “The Duke of Killi- kranke.” Then she became leading lady for William H. Crane and for five years she played in Mr. Crane’s famous success, “Father and the Boys,” which remained a great success for five seasons. Then there followed the long en¬ gagement with Mr. Arliss, after which she was leading lady for E. H. Sothern in his revival of “If I Were King” and other plays and it is also to be noted that Miss Dale was in the cast of two musical comedy successes: “Oh, . Lady, Lady” and “Good Morning, Judge!” The latter was based on the famous old stage play, “The Magi¬ strate” and Miss Dale played the role originally played by Ada Rehan. Miss Dale has played with the prin¬ cipal actors and actresses of our times and won for herself an envious record i achievement. She ihas played in one big photoplay production, based upon incidents abroad, and her work on the screen was accomplished with the same degree of talent that char¬ acterized her stage wor. Those who have seen her in “Disraeli” consider her work splendid. Miss Dale has mastered the art of “make-up” and her costumes and “make-up” for the role of “Mrs. Travers” in “Disraeli” are of a character that greatly en¬ hance the value of the photoplay from the feminine viewpoint. “Mrs. Travers,” in the picture, is the principal agent working in Russia’s behalf to buy the Suez Canal and thereby keep it from England. Dis¬ raeli’s plans for a while are frustrated by the brilliant scheming of the beauti¬ ful English woman but in the end Disraeli routs all his enemies and un¬ masks “Mrs. Travers” as a spy. Destiny is our will and our will is our nature. Flattery is the destruction of all good fellowship; it is like a qualmish liquor in the midst of a bottle of wine. ACTRESS OF NOTE PLAYS IN “DISRAELI” Miss Grace Griswold, the “Duchess of Glastonbury” in “Disraeli” with Mr. George Arliss, which will be seen at the.. Theatre shortly, has achieved fame as an actress, au¬ thor, dramatist and moving spirit in big movements intended to improve the stage and the drama. The “many- sided Miss Griswold” is one of the very active members of Mr. Arliss’ star cast, and many books might be written about her. She was born in Ashtabula, Ohio, and educated in private and publ'c schools in Chicago. After graduating from the Columbia College of Expres¬ sion in Chicago, she sought a posi¬ tion in Augustin Daly’s company when it visited Chicago, and became a “stud¬ ent” member with this famous com¬ pany at Daly’s Theatre, New York, November 26, 1894, and after a period of understudying she was assigned the role of “Maria” in “A Night Off,” with the company on tour in 1895. She created the role of “Mrs Narcot” in “A Burglar’s Reception” at the Gar¬ den Theatre, New York, March 18, 1895, at which time she also played “Celia” in “Plot and Passion.” Miss Griswold subsequently appear¬ ed as “Miss Ashford” in “The Private Secretary” and as “Fifi Oritanski” in “All the Comforts of Home,” on tour, in 1895. She became a member of John Griffith’s company on tour, 1896, playing in “Faust” and “A Fool’s Re¬ venge,” at the Schiller in Chicago. Followed, in the next years “The Queen,” in “Hamlet;” “Jessica,” in “The Merchant of Venice;” “The Nurse,” in “Romeo and Juliet;” “Mrs. Smith,” in “David Garrick;” “Marco,” in “The Marble Heart;” “Acte,” in “Ingomar” and “Emilia,” in “Othello.” Miss Griswold managed her own company for several years, and pro¬ duced may plays. She was associated with a number of stock companies, in¬ cluding the Castle Square, Boston; the Shubert, Syracuse; the Bellows and Lafayette Square Theatre stock companies, Washington, D. C., and others. Miss Griswold has played with the principal stars of the last decade, and her appearance in “grand dame” roles in motion pictures seems to be assured for some time to come. Besides writing a volume of poems, Miss Griswold has written several plays, and is the founder of a number of societies that have the welfare of the drama at heart. The Three Arts Club of Chicago was started by Miss Griswold, and her affiliation with the Neighborhood Playhouse, the Wash¬ ington Square Players, and the Thea¬ tre Workshop is too well known to re¬ quire special mention. She was ap¬ pointed New York State organizer for the Drama League, and started the New York State organization, and when Mr. Tom Wise and Mr. George Arliss, associated with a group of prominent actors, started the Fund for Wounded Actors in the Great War, Miss Griswold was secretary of the Fund. Miss Margaret Dale, who has the role of “Mrs. Noel Travers,” the “vil- lainess” in ‘Disraeli,” played this part in the stage version of the play. Miss Dale played the part of “Mrs. Trav¬ ers” from the first production of the stage play, on January 23, 1911, at the Princess Theatre, Montreal. In the language of the studios she “screens like a million dollars.” George Arliss stars in this picture. GREAT ACTOR SUPPORTS GEORGE ARLISS Henry Carvill, who plays “The Duke otf Glastonbury” in “Disraeli” with M/. George Arliss, which will be at the . Theatre beginning ., was born in London, Eng¬ land, and educated at King’s College. As a mere boy he was apprenticed to Holder Bros. & Co., ship brokers, but in his spare time he was interested in amateur theatricals. He was asso¬ ciated with the Hempstead Dramatic Society and put on several plays. John L. Toole, the famous actor, saw young Carvill play a small role in one of the amateur performances and took the boy to London where Carvill made his first appearance in Toole’s Theatre in “The Broken Sixpence,” in 1890. Shortly afterwards Carvill became a member of the supporting cast with Mrs. Langtry and played in “Antony and Cleopatra.” Mr. Carvill was the original ‘‘Jack Cherry” in “Charley’s Aunt” in 1891, one of the great suc¬ cesses of the period. In 1894-5 Mr. Carvill supported Mr. and Mrs. Ken¬ dall in “The Ironmaster,” “The Scrap of Paper 1 ,” and “The Second Mrs. Tanqueray.” Then Charles Frohman offered Carvill the role of “Ned Annes- ley” in “Sowing the Wind,” a play that enjoyed a very long run. This followed three years in Australia, do¬ ing the principal roles in “The Sign of the Cross,” “In the Ranks,” “The Silver King” and “The Prisoner of Zenda.” Back in London, in ’ 1899, Carvill played with Seymour Hicks and Fred Latham in “Flying Colours” and with Sir Charles Wynd'ham in “Cyrano de Bergerac.” Daniel Frohman brought Carvill to the United States on a three-year con¬ tract and Carvill was loaned to E. H. Sothern to play “Horatio” in “Hamlet” at the Garden Theatre in 1900. Carvill also played with Mr. Sothern in “If I Were King” and twenty years later was. in the screen version of this play. Carvill also played in “Richard Lovelace” with Mr. Soth¬ ern. With Mrs. Fiske he played in “Hedda Gabler” and in “Mary of Mag- dala.” Returning to London Carvill supported Lewis Waller in ‘■‘Henry V,” “Robin Hood,” “M. Beauoaire” and “Beau Nash” with two “command per¬ formances” for King Edward VII. He played in “Leah Kleshna” and “The Stronger Sex” before returning to the United States to play with William Gillette in “Samson” for thirty-five weeks. Followed “Idols” and “Love Among the Lions” and at Daly’s Thea¬ tre he again played with Mr. Waller in. “Beau Nash.” In 1912 Carvill joined Mr. Arliss in “Disraeli” and played the “Duke of Glastonbury” for two years. The late Sidney Drew introduced Carvill to the screen in several short pictures and in the intervening years Mr. Carvill has appeared in support of the principal stars in photoplays. When Mr. Arliss consented to do “Dis¬ raeli” in motion pictures he insisted upon having Carvill with him and the old. association was renewed for the period of the making of the picture. Louise Huff, who several months ago decided to leave the screen at the top of her popularity, has “come back” with a bang in George Arliss’ latest picture, “Disraeli,” and will be seen at the...Theatre on . Miss Huff has the im¬ portant role of Clarissa in the screen production. EXPERT AT THE CAMERA FOR “DISRAELI” Away back in the dim dawn of cin¬ ematography, in other words fifteen years ago, Harry A. Fishbeck had mastered the intricacies of a foreign “movie” camera and was what we call today—a cameraman. He has cranked his camera under orders from Direc¬ tors John Stahl, Charles Horan, James Young, Ralph Ince, Henry Kolker, Frank Reicher, James Vincent, Roland West, Burton King and a host of others. He has photographed Florence Reed, L(ouise Huff, Jewel Carmen, Dolores Casinelli, Catherine Calvert, Molly King, Olive Tell, Sylvia Bream- er, Grace Davison and Mildred Har¬ ris. He has photographed George Arliss, William Desmond, E. K. Lin¬ coln, Harry Carey, Conway Tearle and many famous stars. He fills in his odd moments between pictures doing all the things men get large salaries to do—work in the laboratory, pro¬ ducing, cutting, assembling, develop¬ ing and printing. His greatest work was on “Disraeli,” which will be at the . Theatre beginning NOTES ABOUT “DISRAELI” “Disraeli” has been done for the screen, with the distinguished actor, George Arliss, in the role of “the Right Hon. Benjamin Disraeli, M.P.,” in which he starred on the speaking stage for six years. Henry Kolker, the famous stage star, directed George Arliss in “Dis¬ raeli” The combination of two dis¬ tinguished actors is a matter for com¬ ment in film circles. Mrs. George Arliss is playing “Lady Beaconfield” in her husband’s forth¬ coming photoplay, “Disraeli.” This is a role that Mrs. Arliss played on the stage, and one with which she won great favor. For the first time in the history of motion pictures George D. Pratt al¬ lowed the use of his beautiful estate at Glen Cove, L. I., to a motion picture company. The estate was used by George Arliss in his screen production of his famous stage success, “Disraeli,” now nearing completion. Louise Huff, one of the most beau¬ tiful girls in motion pictures, has been cast for the role of “Clarissa, Lady Pevensey, daughter of the Duke of Glastonbury,” in George Arliss’ screen version of “Disraeli.” Miss Huff has not been seen in pictures for over a year, and her admirers will be gen¬ uinely surprised by her work in the Louis N. Parker play. Miss Huff has a role that requires the gowns worn fifty or sixty years ago, and she ac¬ centuates the beauty of the many gowns she wears in this photoplay. Henry Carvill, the well known Eng¬ lish actor, has been cast for the role of the Duke of Glastonbury in the forthcoming George Arliss photoplay production of “Disraeli.” Mr. Carvill played this role on the stage for a number of years. Mr. Carvill has played many roles in London and New York and has made sixteen voyages to his credit in this period. E. J. Radcliffe, whose stage and screen career extends over more than forty-five years, has been cast for the role of “Sir Michael Probert, Gov¬ ernor of the Bank of England,”” in George Arliss’ screen version of his great stage success, “Disraeli.”