Life — December 23, 1909 — page 13: what you’re looking at

Machine-transcribed from the original scan — historical spelling and the odd misread are preserved.

THE EVOLUTION OF A POUTER WOMAN person with a sense of dry humor and her mother as pos sessing the conventional British virtues. Unfortunately the English company that supports her is not in all respects quite up to the mark. The part of her hus- band, Dr. O’Farreil, is a most important foil for her work and is entrusted to Mr. Philip Desborough who labors under physical disadvantages of appearance, manner and voice which make us wonder how he could ever have been selected for any but character parts. Mabel Trevor, as Mrs. Ferguson, the supposedly fascinating beauty and lurer of husbands, also makes us wonder at the selection. Mr Herbert Ross, as the canny father of the heroine, was a more fortunate choice, and made his part thoroughly credible. The uncle, as depicted by Mr. Draycott, was amusing, but rather more of a bounder than one could imagine, “calling duchesses by their first names’? and “the most popular dinner-guest in London.” The minor parts were excellent, the Peyton of Nannie Ben nett making one ask one’s self whether it is possible that such perfect parlor-maids really exist in England in these days of rampant Socialism and Suffragism. == BOUT ninety-cight per cent. of American actresses should see Marie Tempest take a curtain call. We have all seen our own young women come awkwardly part way onto the stage and bob their heads or nod with a sort of half- contemptuous, half-bored expression, and a smirk as much as to say that the spectators are silly to be amused and that the E: 917 whole thing is perfunctory and to be gotten through with as speedily as possible. The English comedienne comes almost to the centre of the stage, inclines head and body gracefully and her face bears an expression of frank pleasure which is a little speech in itself. 1am frankly and not presumptuously pleased myself that you recognize the effort I have made to please you, and I am really sratifed inal yee Metcalfe. It seems to say: “ understand and like me.”’ SCONFIDENTIAL voy a * Notice later. Three acts of continuous laughter. Our suburbanites turned Vag WAM AN Seven Days.” Belasco— Is Matrimony a F to the purposes of lively comedy Bijou—" The Lottery Man." new lines Broadicay—" The Midnight Sons.” Fun, Casino—" The d the Wizard.” Mr, Sam Bernard is the leading feature in diverting musical farce Comedy—" The Melting Pot.” Mr. Isracl Zangwill’s demonstra tion that America is the Mecca of the Jews Criterio week of “Israch” Bernstein's dramatic joke on the Fr Semites and Catholics. Daly's © of Mrittany.” Mr. Frank Daniels making fun in tuneful musical piece Empire—Miss Maude Adams in Mr. Parrie’s satirical “ What Every Wor * “Beginning Christmas evenit Garden ¢ Door.” Drama with fake insurance as the motive, Holds Garrick—" The Harvest Moo exploited as, dramatic material Hockett—“Cameo Kirby,” with \ later Herald Squarc—Mr, Lew Fields and large comp performed musical farce Hippodrome—Water spectacle, ballet and, circus features Hudson—Last week of “Arsene Lupin.” French drama ama ingly depicting contest of wits between detective and thief. execum—Marie’ Tempest in Mr.” Maugham's Perelo Lyric—" The Chocolate Soldier.” “Arms and the Man" used as topic for libretto for tuneful Viennese score Manhattan Opera Howse—Repertory of grand opera. Marine Eniott's—" The Passing of the Third Floor, Back.” Mr, Forbes-Robertson’s delightful acting in Mr. Jerome's interesting mystical play New Theatro—Repertory of dramas and minor operas fovor—last week of “The Awakening of elena Richie.” Ex cellent performance by Miss Anglin and’ good comp Stuyvesant—" The Lily.” Notice later, Wallack’s--" The Fourth Estate.” ‘The newspaper as a dramatic property strongly displaved Weber's—" The Goddess of Liberty." Notice later Most merry farce constructed on y musical farce See THREE PICTURES WITH BUT ONE TITLE PRESSING HIS SUIT comicbooks.com