The Billboard 1924-09-13: Vol 36 Iss 37 (1924-09-13)

SEPTEMBER 13, 1984 The Sillboard | 39 ATHLEEN KIRKWOOD, at the Triangle Vows —. nee without much contrast is appropriate te heater, presents the most artistic ‘‘Sa"Gap > — ——» Rain” lome’’ that bas been staged in New York : J r Eagels’ voice is 2 happy combinasome time. There is a classical dignit (/ > tion f ! ng eternally good in humar ind simplicity to the production that brings 4 om “| A nature and something only transiently bad in ve audience close to the heart of the story, and 4 f. . yas n aracter The low pitch of her voice ts dramatic value is emphasized by a sense ” . ~ " ertain poise reserve to Sadie at Sey Ne SS ee aan ae corey rm WINDSOR P. DAGGETT pry eatin cad ie nth pega th) ole and in the indivir rpretations of t missionary cannot se¢ The fu the actors. The sense of spiritual reality is throated t rolls out in laughter and euinuant ote th staxing f th layP ter s S ‘ eedor © ws elgpesoownis ~ ts f _ ‘ . — and to persons who do not know him intihay later learned to my ¢on at it ; ows her freedom of rit and es ar not words oO rhetoric u . . ’ < " j of lif t is acemnatheticalle humar nes bin, that . r rot i 1 i mately he sometimes gives the impression of wasn’t. The dramatic artist, if he is really ’ ’ It . ee eee oth ba represe a human move anc s . . ¢ tor n ve y Dn i she s tl v eomething i being distant and snobbish He doesn’t wish an artist, often has many voices, and only and DB a it Ww 4 wting is op & une of aesthetic under; e bei > i te th ? wort 1 rough life it omes ent ‘rely ri ive > mpressior of wing snob, ane n nce ‘ 8 I . anding so that the “inater al com: co of Sve the eprom gilt thes “ay t } It $ ] iality of self-res . } knowing that the part he was after was a ' ainftanee, can i , 8 nett, tage properties and physical elts i a . Bas pe amd It is not my purpose to write an } college “‘type’’ of excellent breeding, he dropmetur il voi reauy 1s For on thi ‘ ye Se 7 to a realm of thought which Miss Kirk: ‘ ne as ae _ Pty in f r of trne’* voices. which limit t nspir and muintains by her unflicker ped into the manager's office n his best actor may speak | er oF Vv * ee fe ' “ ; —_— \ inspires ane muintains oF ne niti ‘T. ‘ P = ase actor to ‘‘tr? ® oithe ‘ » nager’s flice a st t heme of lightis mood of goodfellowship. The color of his hair speaks e ssa . -s er in the managet Duce > ynglaring sche » « ligi hid " cs m the etac n = *Rain*®* . a nel has always pecialized i and the color of his eres were exactly right In . w l i > : a6 and it vain t is not my = ia“ hee ar a: poniget al = to give ¢ reper yf ‘ . mar second time in two yt dby ¢ to know these Voices are shting n Salome it is giving equ 4 ' ® ssumed or w ther ev repres he in . “ F agp te But the young man was soon dismissed from the fact that character es, * : oeeveree ¥ represent the indin to voice, so that t Triangle is & ok : z ae . tia gece «Sl tv of the persons assigned to these s¢ ’ = the office with the usual dictum Ye are if you please—are I ery = . . enea td nese = theater’ of unusual interest, for voice ? , Ne mei + an teiefe eral parts There something Cpe? aw . " n. The’ not the type."’ The character to be played There is hardly a ce that would i I I I s n pg in yp yt are Inscme eon binatie e 7 Saati Gos Saw " re we meet ’ ¢ —, Y read . l view was the part of a snob! If the actor ! 1d your ear if you wer ooking fe r | ee. r w iT n. whether it forn Iran t ' at ry is UunU t Fis y h be fir she t n fr y : . 1 . ’ ae known this in advance he would have been star » and beautiful speech. ve at t sight between man and woman . ‘ ‘ ‘ ‘ at there is ttle ‘ 1SS8i¢ Tawa + o — 5 ae . ‘ < re . o» hy at tt resent te m so that engaged on the spot, for he knov from unPerh: Kelly has the worst voice © : . s of as a the road stag he presen e, f P avane im tha ec s > Wn — tia ‘ : _ a s . happy experience what his traits of character and the worst diction of anyone in e com£ cus er ( dering that the sical drama is presented the actors > : : , ' whcint of ideal st But actor and t nntie® sensuunt , , ; . b are that have given the impression that he is pany. from v t oF i , : 1G ‘ amatist re ent life in all ar < a in color } »i the ™ use , } + + ni ¢ marl + _ oo eel oe Ree : r because cnobbish at the club. But in this ins in this warped, gnarled character of the misSs complexities s considerable latitude se to “*modernize Ys reading or behe had thrown his reserve to the wind narv we do not object. The voice nd in \ e and 5s} when we come to cover the ause they have no command of voice and speech oF 4. tho manager that he was easy in manner speech is pretty much what we expr et, and theater as a vw from vaudeville down—or enables them to make an elevated style 7 won choose to put it When we follow stural and expressive. _ tor in several parts and know that his = The actors at the Triangle have “Greek PYRHRXRERRERRBME EMER NNN SS HHH NE lity in voice enables him to play a voices with weight, dignity and range in §¢_ eae % er of parts differently, then we knew that is an artist. when an actor is limited SYNONYMS re o one thing, then he is on the danger line of by being a ‘“‘type’’ actor in the limited and an iruma’ reading that make their work old d in the bes of forceful au 0 rity There is no iting or ranting, no = ntionary woodenness, no tedious deliberax es ee fx} pleasant sense of the word. . monotot of temp Sneech f i. 2 fe nb ‘7 ’ caelies as a tie te pint ver % N A well-known passage Robert of Gloncester (ab. 1390) speaks abont the relation 4 Answers nlay, the vocal ‘climbing’ and registry ca I of the two languages in England. He says “I ng ind a ayponge prance (3) B. C.—‘‘Brethren”’ is the archaic ploral of ; ef top notes has an undertone of sincerity and x I ind: rnd t e Normans it that time ‘ a &, oon ans ange Phcoies fe) “brothers”, often used in the church. The | I hee 3 spoke French just as they did at home, an eir ‘n got in t — * word is pronounced in two syllable “*breth; cthee. ane gives hare Yee Se 3 manner, so that people of rank in this « 10 eame of their blood all stick 4 ns 2 : y m vocal score. The actors show that they have 5 to the same langu received fe f a man knows no Frence! fs rin’, with the th-sound voiced (bre&-rin). r nd they work together with singleness people will think litth But the lower classes still stick ! to bs hristian’’ is (‘‘krist-jun). Readers who of purpose that keeps them in tune and on their own language. I there are in ant the be rid no cou lo r . % qo not study the Key carefully are confused © key What Sir John gy ort ney aid keep ft r own languag ept England a ne. snt mw is W t ob : ie by the (j). This symbol should always be ; . is the best thing to know both ianguages, for the more a n mor eas note : at the Century Theater in “Oedim Res he worth.” This passage raises the questions, how did common peot manage to hy associated with the i-sound in ‘“‘it'’. In the Miss Kirkwood is doing in her own way within learn <o many foreign words, and how far did they assimilate t! 4 f<} Internat onal Phonetic Alphabet the (j) rep: t ntimate walls of the little Triangle. It In a few cases the process of assimilation was fat litated by the fet that a pe resents the i-sound “‘glided’’ as in ‘“‘yes’’ (jes) s interesting to find that a classical ideal Frer word happened to resemble an old native one; this was metimes the and the sound is classified as a consonant. an be demonstrated with such largeness of natur nsequence of French having in some previous per d bort bel 1 ¢t ¢ e The word ‘genius’ is usually pronounced mood in so little space, but Miss Kirkwood did responding W ord from Germanic dixlect. Tr — pes one engl iL ex vir wiah ee rege is (dzhit-ni-us). These two pronunciations will t rith the one-act “Woman of Samaria” re aa ted 7 ht _ (Fr. ee ny “r1 cae aaa ihe wanal al at fz illustrate the relation of (i) to (j). It would 1 she is now doing it better still in the east ME stot sa, ' ¥ old nat ‘es a eo] one’? was suppl ‘ wit} pe be forutnate if the symbols for these two 1 play ‘Salome™ poun “choice” from Fr, “choix”. OE. “hergian’® and OFr. “her fy sounds made this relation more apparent, but Stephanie D'Este, who plays the part of together in Mod. E. “harry; OE. “hege’ and Fr. “haie’ fq 8 the (j) is the approved symbol for the Salome, has a remarkable voice of intangible “ay. ee ees from F meee ee Bs ind “‘glided’’ the student should become acheanty and expansiveness. It has Oriental was borrowed in the fifteenth century go By ree nee dearer fs} customed to it. bs ef. It guardagnare’, a Germanic loan), but it curou be richness of color, softness of texture and oun, “gain (also spelt ‘‘gein, gern, gayne, ete.), whi is “Christianity” is (kris-ti-a-ni-ti) with stress warmth of feeling. It is a voice of unusual avail. } fit. remedy’, and a verb, “‘gain” £ a) on the third syllable. background, ise and intelligence, and it useful, avail, serve, both from Old Norse. Wher 32) ideale cian a eit ves easily yo subtlety of intonation to it could not fail to remind the English of tl i Se _ oS send = weually (kaw-nisu:), redramatic notes of ai stinct authority and power it corrupted the spelling of the latter into N ot membering that the (suz) is pronounced like There originall in anrthing that Miss ; ‘nephew'') recalled OE. “‘nefa’’, “‘menere, aisnie, meaning retinue, bg ‘sir’. But (kaw-ni-'sjoo-m) is also used in nt ‘ : . — troop) recalled “‘many’’ (OE. menigeo), and ‘‘lake > ¢ acu"’, meaning strean fx] educated speech, altho the former is preferred. I Este enéertabe s, “and her most studied effe« I nfusion between Eng. ‘‘rest”’ ose) and OF rest’* (r {33} ‘ ” Stent isingly represent something within her mind | too, there were a few es, as when nouns had se ‘Ignoramus is eae rel-mes) with the and personality that is worthy of serious atby nding verbs the voi French “us user’, fret) pronounced like “‘ray'’. This word is yn. As a physical orgy ‘Salome’ is (x) ed with an sound, z 1 t as Eng be frequently mispronounced. I have heard it in repulsive to refined tastes. Miss D'Este takes Bg with am e-cound, the verb with @ s-sound; Eng. “grief i the pulpit pronounced as (-"ra-mus), and I the play entirely ont of the animal bingdom in & pd IB cg rend — a a ca > call Clelia Benjamin on the stage calling it e material senee. A tae oe SS ee % (ME interpre tour, Fr. -eur), on the whole ‘auch fs) (-"rab-mus). bode can completely obscure the final : 4] similarities between the two were few in number x) ‘‘Rapbael"* the painter is usually ‘‘ra-fei-el) fiance of Oscar Wilde's play The conflict *4 issist the English population in learning the new words Py with the (a) im ‘at’, but (("'rei-fi-el) is also between the spiritual nature and its earthly } language. isd) used. This name has become common pfoperty ronment, and the power of the earthly | A greater a tan may perhaps have been derived from a habit which may fq in the world and is usually Anglicized, altho lestroy the spiritual is the dramatic idea es have been common in nversational speech and which was at any Tate not uncommon fa *‘Italiana’® (‘rah-fi-el) is preferred by some. at Wilde vividly puts upon the stage when : in writing, t t of using a res *~h word side by side with its native synonym, the f (Continued on: page 42) latter serving more or —_ ily as an interpretation of the former for the benefit Salome ase over the lips of bea i of those who were not yet “famiites with the more refined expression. RS rophet his is the conception that Miss v9 60 . om eS —ES Ss N ! s ° \ Este keeps uppermost in her mind and this JESPERSEN’S “Growth and Structure of the English Language px atment of the daughter of Herodias gires e gist of the argument : . the gis eH KR REN EE XE RE NEW ERE PEER WER REWER EER EN EEE EE? Theatrical Shoes eph Battle, by fine voice and inspired GARI IIIT ling, made Jokanaan distinctly impressive. ~ Te th et ee ~~ eae : is By I. MILLER i , P ° . uitstanding manliness of the character was and a regular fellow. His smiling winsomeeven if we miss a word we are more likely to : spiritual ideal in a normal nature of manly was the end of the intervir There is no than to feel that the actor is falling down on Clogs Mieas ta the more emaciated, ascetic room for an argument after the manager nee his job. Altho distinctness, it must alw irs be Roman Sandal of character There is a distinctive spirgiven his one-glance decision as to type. This remembered, is of first importance in the the‘ 11 feeling in his voice and his attitude tois a case where the sctor can reasonably ater and for reasons that need no argument. Jingles i the part is strikingly noble and sym© bject to il decisions about his ability Even so there is a difference between feeling Russian Boot hetie, to act a certain part. that certain failures are in character dis| Imitation Guth a » Monnte made a valuable addition to The accident of type sometimes stands the tinetly out of character. Write for Catol ompanr Her method was slight!* mor actor in good stead, for it enables him to fill een : © him to fll Even Fritz Williams, in the Doctor's part. us 1 ” } the ut i vir quite effective ‘4 _ oOo othe hie ° a ‘ ws than that of some of the o rs, bu a part q ively in spite of other limi nae o certain loesof-< = in tineen tn bin tome: fitted the scheme of vocalization itions s e t aco | made some favor stal in this part, as Mr Battle preferred ness threw the manager eff the scent and that conclude that » missionary 3 in rent | Ballet Slippers | | | | general ; . ‘ — mera) th 1 the read. of her reading and charable remark about the w rk of a young actress : t! _ _ = ce = ce sre * he ae : : we 1554 manatee State $t. at Monree rization was appropriste David Daca, as who was supposed very early in the play to a wang gg Seneewer ng : a NEW YORK CHICAGO Herod. waa another actor with good voice and give the audience a distinct impression of the depression, and Mr. Ww iams a voice is no gnity of style. This is a play that detype of character she was playing The actress Without some significance in tals eect And so all the way thru the play rves to be seen twice, and we propose a secdid this s essfully and to her credit. When a } visit to study some of the detail of the sl! read my comment she remarke d to a di nage pia oe a a: . , inal parts friend that she didn’t think much of my ote Im the character of the missioniry’s wit : to lazy 1 of the fat trader layed 3) the lazy angnor wor “type” is often repugnant to the judgment She considers that she has a bad : : rord v1 ‘ ; by Rapley Holmes. In ‘“‘The White Cars tor because it frequently hits him as a slap voice and that anyone who cou'd hear it and : ‘ : : there is be snec thar re i “ n’ ee when he is looking for a Job. not condemn it has a serew loose somewhere. ne ie better specs then ¢ beg Alger ’ » tivat ry ne story of } re is no doubt that the type-hunting mania This is very eommendable in the young woman, but the motiva » and t t Large list of new and standard Plays, royalty ™ and non-royalty, Comedies, Farces, Dramas, e two plaYs you le Acts, Stage Monologues, Specialties, f managers often does an injustice both to the faet that she is so dissatisfied with the is slightly d meron in : ~~ ee eae | : Minstrel First-Parts, Skits and t manager and to the artist, but on the quality of her voice. She doesn't always intet speech in “The Wi te Cargo" harks back Z2o= Afterpieces; Musical Comedies her hand the idea of finding the right ‘“‘type’’ tend to play parts with bad voices. She to the better days of the me n whose ! eo b she and Revues, Short Cast — as the basic idea of a character is perfectly doesn't intend to be a bad-voice ‘‘type”’ 1 rusted away by slow = rrosion. = “Rain ep EB 2 yy yy sound. ‘The injustice comes when the actor's admire her judgment tn this direction. But in ere is = ! ae a — ps Payee sree x me ? Fire Girls. po ino Deveulie “type’’ is sized up by a superficial first glance a part where a bad voice is pretty much in e miss -— : o~. y oa Bee pcsecnare Ct: Plays, all in book form. Comor by two or three parts that he has been character, the impre ssion out front must neces ees n adie, a few hours, anc s it . neentra ‘ plete line of Novelty Entertaindentified with 1 know a young actor of sarily be that she plays the part well, all ef 1 in a terribie present, where a & ment Books for all occasions. rather aristocratic bearing who was sent by other things betng in her favor How is the forsaken country and a God-forsaken missionary te tha — . ict ™ "hese fan’? his agent to interview a manager con erning audience to know that she is speaking in het denote e bleakness of existence. 7 t T $ DENISON & COMPANY * juvenile : ’ this trap the same “fight’’ and resistance in the at« Ve character that required much renatural tone? I have been eaught in finement and elegance of manner. This young several times, for I have assumed the character mosphere a. a = pes —— heb S _ 623 S. Wabash Ave., Dept. 16, CHICAGO, WL actor is not a good mixer at first acquaintance voice of the actor to be his natural one and For that reason the concentration of depression