The Brooklyn Daily Eagle from Brooklyn, New York • Page 33

THE BROOKLYN DAILY EAGLE. NEW YORK. SUNDAY, NOVEMBER, 3. 1918. THEATER TOPICS.

SCREEN NOTES. CONCERNING PLAYS AND PLAYERS NEWS' OF PLAYS AND ACTORS. I i 2k I 'P 1 "jwl 11 i a Clare Kummer Frisco CMf Mfc. MFlJ Mi 1 mm- JP1 iPi xp I WWJA I lWf I vS mmmL fit Tear NelM." "fe i -JH MkJ At the Montauk Theater Oliver 4 ti. 4 A Morwco will present Leon Gordon In S.

PWWX "Watch Your Neighbor." The play rls '-Ml 1 comes from a successful engagement" 5 at the Booth Theater, Manhattan. It i cj 0-1 9. -'A I rK'i contains one of the most thrilling i A JSr I. Vfe nghts of the season. -3 43f 3 Sf'i The scenes of this mystery-farce are ft I in London, England, and Geneva.

SMtfi Switzerland, and the story concerns a i 1 young Victoria Cross hero who Is .4 jT I vJli withdrawn from the field and assigned STcT f- Jr t0 duty with the British Secret fsSllw''" jk" if Service. Leon Gordon, who plays the ffi 5 llsiV chief role, jumped into popularity In 11 ifii, MM'ii I New York by his striking perform- COPPERHEAD, A 'K anc- He is supported by a cast MAJESTIC io'lsf IJL which includes Mary Servoss, Dodsori A ra-ii -9S Mitchell, Harold Voslnu-gh, Leltoy MmfliWAC? fHP" Clemens, Stanley Harrison and Ruby 1 4 Halller. There will be a special matinesa on ffULUM ffl2f Mi irft fT'" 1 PLAYS don't need good plots. They don't need plots at all. It isn't necessary to drag in Strindberg and his "The Stronger" to prove it.

Clare Kummer can prove anything along that line that may be required. She makes plays out of words. If she leaves out the plot you don't miss it. If the plot is old or miscarries you don't mind. In "The Stronger" Strindberg puts two women on the stage and lets them talk about the plot that might have been, the plot that is their past and the past of the men who loved them.

In Miss Rummer's plays you are content if the characters just talk they talk so delightfully. In "Good Gracious Annabelle" she started with a first act that was a joy all whimsy and sly, unlabeled wit, full of gentle humor that stuck its playful and unselfconscious head up here and there without the slightest warning. And she followed it with two acts of hackneyed situation, old stuff in the theater, but clothed in the same irresponsible, unexpected fun. In "The Successful Calamity" she started with a man who wished to stay at home for once of an evening instead of sleeping, uncomfortable, with a herd of others at some tiresome dinner, concert or reception. And then, having got his way, this man, illogical Vis a woman, went off to a prize fight with his valet.

The other act jumped into another play, merely keeping the same characters and basing the action on a supposititious poisoning. The plot Vent awry, but the play was full of the same intriguing talk, the same whimsy, the same surprising humor. Then came "The Rescuing Angel." And that is difficult to remember because it was less worth remembering. But one seems to recall that it had a more ambitious story than the others and one seems also to have retained an impression that the plot was a hindrance because its presence put upon Miss Kummer the necessity of hearing the dialogue advance the story; and that responsibility made the talk more selfconscious and took away its customary spontaneousness and irresponsibility. But one may be wrong in that one often is.

Perhaps after all the only trouble with the play was Billie Burke who filled the leading role. At any rate, now comes along "Be Calm, Camilla." It has less plot than the others, and it is the best of them all. If there were more story Miss Kummer would have to waste words telling it. And for her to use a word even here and there merely to oil the machinery of aplot would be waste indeed. As it is, the characters spend their time in letting little streams of human and humorous, apparently aimless but always pointed, chatter trickle from their lips to sparkle a second in the sun and evanesce.

They seem to be talking about nothing, but all they say leads somewhere. And the play is acted by a group of actors as natural, as unconscious and as free from petty histrionic tricks as if they were all alone in a room with nobody looking on. We like Frisco he's so vulgar. We mean vulgar in the primal sense of the term, of course, for he is what the word really means "of the common people." Frisco is pure gamin. We like him, too, because his feet are so surprising and full of crazy rhythms.

They never do anything that feet have done before. NEW PLAYS MONDAY. "The Canary," a musical comedy with Julia Sanderson and Joseph Cawthorn, will be presented at the Globe Theater by Charles Dillingham. It is an adaptation from the French of Georges Barr and Louis Verneiul. The score is by Ivan Caryll and there are additional numbers by Irving Berlin and Jerome Kern.

Sam Hardy, Doyle and Dixon, Maude Eburne, George E. Mack, Louis Harrison and Edna Bates are in the cast. "Little Simplicity," a musical comedy by Rida Johnson Young, with melodies by Augustus Barratt, will be presented by the Shuberts at the Astor Theater. The cast includes Carl Gantvort, Marjorie Gateson, Stewart Baird, Charles Brown and the Cameron Sisters. "Georgette Lemeunier," by Maurice Donnay, will be the fourth production at the Theater du Vieux Colombier.

It is a story of the bourgeoisie. Rejane had great success in the play in France. WEDNESDAY. "The Comforts of Ignorance," twice postponed, will be staged at the Bramhall Playhouse. Laura Burt has been added to the cast.

His Life and Work 1 At the Play Lionel Bai-rymoro In "Tlie Copier-lioud" at Oie Slajestio. In "Tho Copperhead," which will be seen during the coming week at the Majestic Theater, Augustus Thomas is "again among his own people." The scene of the play is a small. Middle-Western village, and the characters aro of the distinctive type that Mr. Thomas has drawn so successfully in plays like "In Mizzoura" and "Alabama." Tho Middle West is Mr. Thomas' own country and there he spent his most impressionable years.

No better vehicle for the display of Lionel Barrymore's remarkable talents could have been found than Thomas play, which will be seen here with Hie original New York cast and production. A special matinee will be played on Tuesday in addition to the regular matinees, "Getting Together" at Teller's Sliubcrt Blanche Bates and Holbrook Blinn come to Teller's Shubert as co-stars When A. Paul Kcilh died at the age of 43 last Wednesday, vtaudeville the creation of his father, B. F. Keith found itself for the first lime without one of that name directing its destinies.

The Keith line is at an end and henceforth tho name alone will stand to testify to the great role played by father and son in American amusements. A. Paul Keith was unmarried and had no immediate kinsfolk. His enormous theatrical properties are distributed by his will among his business associates, chiefly E. F.

Albee, who was his father's lieutenant from the first. Mr. Albee will, as always, continue the Keitn Pln'ethe early eighties B. F. Keith found variety, as it was then called, a neglected and rather despised little sister of the legitimate and musical stage He saw that there were true artists in the smoky music halls frequented chiefly by men, and that the entertainment had all the elements-comedy, song and dance acrobatics, farce, high spirits f7r the general public popularity, provided it could be freed from the then current coarseness and vulgarity.

Variety was very low and base in those days in its methods and its surroundings and men and women of good reputation never dreamed of entering a variety theater. B. F. Keith, starting with a lowly "store show," speedily changed all that. Ho worked upon certain big fundamental ideas; he.

first of all, cleaned up variety and gave it a i wholesome tone. Smut and sugges- tiveness and vulgarity were eliminated. The artists were taken in hand and given heart-to-heart talks about the superiority of clean entertainment over "spicy shows." The name variety was discarded for vaudeville.whiclj came into general use with delightful associations, for as he prospered B. Keith built beautiful theaters, starting with Keith's Theater, Boston. A.

Paul Keith as a lad was interested in the theater. From the beginning he followed his father's work with the fascination that keeps the born showman always in a glow of enthusiasm. As he grew up he mastered the business In every detail and was a finished theatrical man and a vaudeville expert before he went to Harvard. E. F.

Albeo was the lieutenant of B. F. Keith from the earliesi davs of variety. He was in the fullest sympathy with the Keith policies Way to Success Hi Juno Oaker in "Uglitnlii'." drawn for an nudlonro Jano Onker determined that her future should be spent In the plensant places of comedy. Nor has sho ever regretted her second choice.

A. Paul Keith ii ip in Brooklyn this week In "Getting the musical war play that had six-months' run at the Shubert Theater, Manhattan. "Getting Together" is the co-product of lan Hay (Major Beith), the heroic soldier-author of "The First Hundred J. Hartley Man ners and Percival Knight The songs were written by Lt. Gitz Rice of the First Canadian Contingent.

There are three acts and six scenes, in which 100 people participate. There will be a special matinee Election Day. In the cast are Gitz Rice, John Thome, Gustavo Holland, Radford Allen, Harriet Sterling, Ruth Benson, Edward Arnold, Suzanne Feday and Pipe Maj. McKenzie Bailiie. "A Daughter of the Sun" at tho Grand Opera House.

"A Daughter of the Sun," the story of a Hawaiian butterfly, will be the attraction at the Grand Opera House this week. It will be presented by a capable company headed by Mlsi Freda Tymcrs, including Richard Earle, Walter Ayres, Blosser Jennings, Jean Clarendon, Virginia Stuart and Hilda Graham. United States military men, a Harvard man, a girl who is direct from Broadway, Hawaiians and a Japanese aro concerned in the complications pf the plot. A group of Hawlaiian singers and dancers contribute a picturesque element. Tho Fifth Avenue.

Seven acts and one feature photoplay will comprise the Sunday con certs at the Fifth Avenue Theater today. Thiis week's attraction will be "The Judgment of Men," a comedy which tells the story of a man who is wrongfully accused of causing a girl's death. He refuses to be blackmailed, proves his innocence and marries the girl he loves. and gave his life to carrying thorn out. Though much older he formed the warmest friendship with A.

Paul neitn ana loved mm as a particuluriv dear younger brother. The trio B. Keitn. A. Paul Keith and B.

F. Al bee were in the closest possible sympathy and their mutual understanding and agreement were perfect. When H. F. Keith died ho left his vast theater properties, so large a part of which aro in Brooklyn, to A.

Paui Keith and K. Albee jointly, cacn "ing a half owner of the B. F. Keith I ncaters Company, a holdine cornor- ation, under the laws of tho State or Connecticut. Mr.

Keith became president of the Keith Vaudeville Circuit anu ino united Booking Offices, tho central organization of all that is known as "Big Time Vaudeville." Mr. Albee became general manager of these organizations. Thus together iney wornca lor me expansion of vaudeville. They organized vaudeville art ists into the N. V.

which Droteets I the members' every interest, insures mem. gives tnem the right of collective action and admits them on even terms into an arbitration board com--osed of managers and actors, whose judgments are final and binding in tho profession. Mr. Keith and Mr. Albeo were at one in all that tended to help vaudeville In a broad and unsolflsn spirit.

In war work they were foremost, giving their theaters and their resources without stint. The story of Keith war work is one that the American theater is proud of. Last summer A. Paul Keith went to France for the Government anr reported upon the morale of the soldiers as affected amusements. Upon his report was based the crowded meeting of actors and actresses and managers in Palace Theater and the formation of the Over There Theater League which has sent seeral score clever vaudeville artists to the front to entertain the soldiers.

i A. Paul Keith was eminently pro- Blconiirc. A BclllC, Cltdll IUUUSL young American, a Harvard man, a devout Catholic, widely traveled and with a circle of friends who loved him next to idolatry, his was a rare type in the American theater. Modest, shrinking from the limelight of publicity, always instructing Keith publicity men to merttion him as little as was consonant with good business, he was not much known to the public. His was an all pervasive but seldom visible force in vaudeville.

He did not seek credit for what he did; he preferred to let results speak for themselves. Ho had high and fine principles and these ho lived up to resolutely; he was a loyalist of loyalists to his friends. ORPHEUM LILLIAN RUSSELL Lillian Russell returns to vaudeville at the Orphewm this week, with songs old nnd new, with a military uniform, that of colonel, and a chatty, patriotlctalk. Miss Russell is Just as voung ashe used to be. Charlie Chaplin's newest film.

"Shoulder Arms," will be shown, and there kre a number of other good features. Nan Halperin stays for another week. Jimmlo Hussey, assisted by William Worselev; Thompson and com-nanv. Green and Parker. Hennlngs and Marks and the Brighfons are also on the lull, nil oi tnem wun gooci acts.

AT THE BUSHWICK A grand union of the Morton family. Including the second edition of the Four Mortons, will be held at. the Bushwiek Theater this week. Sam. Kitty.

Martha and Joe Morton appnr In "Then, and Now," Clara Morton will offer a solo somriilogue and Pril Morton and Naomi Glass, who Mrs. Paul, will present "1 918-1960." Chnrlle Chaplin's latest film. "Shoulder Arms," will be shown, and the rest of the bill enns'-ls of De Loon nnd Davlos. the Wic- Wag Revue. Moss nnd Frye, O'Mcers and the Pathe News I'lclnrlnl.

MANT1XT; TX "RTClTFLTIvTT." In a new production of "n'chelleii." Robert B. Mnnt ell opens New Tnrk engagement at the 44th Street The-nter tomorrow, Monday nlitht. "Richelieu" hns been In the l-med'm's rap- ertolrn since 1901. Miss Genevieve Hamper and Fritz Lelbor are fea- lumd in Iho tragedian's support, heading a large company. Nobody ever told him how to dance.

He just let his feet have their own way. He never polished up his foot-work in well-appointed parlors nor took courses in the poetry of motion nor looked upon the dance as self-expression; he merely danced and so expressed himself. Frisco is a primitive. And perhaps the thing he does might even be called art. He is at the Palace now has been for two weeks doing the dances that have made the Barbary Coast of San Francisco famous or infamous, whichever way you look at it.

To see him dance is to get the spirit of the coast resorts, a spirit somewhat subdued at the Palace to suit the composite tastes of the two-a-day, but the spirit none the less, bowdlerized but unadulterated. Watch him! His jazz band crashes into wild, discordant music, the clarinet contributing especially uncanny, cackling noises; and with jerky little steps he emerges from the wings on his heels, striding with suave assurance, a sort of Barbary Coast savoire faire. He is dressed in a shiny dark suit that conforms to the lines of his limbs because it and they are friends of long standing, and over one eye at an aggressive angle is a dinky, impudent black headpiece of the derby family. From the wings across the stage glides a perky little girl. They meet and dance.

You never saw a dance like it. Over the stage they zig-zag in a jagged jazzy design, a little like that of cubist painting, but more like nothing at all. They shake their feet here and they stop there and stand motionless. They shuffle and flick their feet and twist about at ragging, ragged angles. Frisco's feet, especially, fairly crackle sometimes and then they seem to go to sleep; a shiver runs along his leg and trickles off at the end of his toe.

Then the two slip off into the wings again and it is over. It's the Kitchen Stove Rag or something and it's crazy and delightful. James Whitcomb characters are to be on the stage. William A. Brady will shortly produce James Whitcomb Riley's "Homo Folks," a four-act comedy by Robert McLaughlin.

The play is an adaptation of a number of the poems and stories by James Whitcomb Riley. In it will appear flesh and blood counterparts of the Raggedy Man, Orphant Annie. Jap Miller, Squire Hawkins, Doc Town-send and numerous others. In addition to these there la another character which should be of esDecial interest to all those who hold a place in their hearts for James. Whitcomb Rilev and his work.

This character In "Home Folks" is Jim Johnson, and his story as told In the play is the story of James Whitcomb Riley himself. Mr. Riley passed on the scenario of "Home Folks" and gave special attention, naturally, to Jim Johnson. The play, of course, is laid In and about the little town of Greenfield, Indiana, where Riley studied law, painted signs and made his beginning as a poet. The first act is laid in Squire Hawkins' law office, where the vouthful Riley wrestled with Black-stone and wrote verses the while.

The second act is played in the living room of Jeff Thompson's home, and the third out near "The Old Swimmin' Hole." The fourth act takes the audi- encn "Out to Old Aunt Mary s. "Home Folks" is named after Riley poem of that title. the THE PALACE BILL Bessie Clayton will head the week's bill at the Palace. With her will appear In her elaborate act those fiery Spaniards, the Canslnos, and Tom Dingle, John Giuran and Jimmy Cas-son, all pedal performers. Chic Sale returns to vaudeville in a new edition of his rural Sunday School benefit performance.

Blossom Seeley returns with a revision of "Seeley's Syncopated Studio," with Bennie Fields, and Messrs. Lynch, Davis and Lopez. Frisco and Loretta McDermott remain for a third week. Kate Elinore and Sam Williams aro booked for a "reel of real fun." The Sisters will sing; Bostock's Riding School will close the show. FILM PRODUCERS RESUME XOVEMBF.R 17.

At a meeting of the producing and distributing companies of the motion picture industry the accompanying statement held recently at the offices of the association, 806 Times Building, it was unanimously decided that the period during which the motion picture industry should be closed down, owing to the epidemic of Spanish influenza be extended one week from the time originally decided upon, November 9. The motion picture business will resume operations on Sunday, November 17. With the exception of a few isolated States the epidemic of Spanish influenza is on the wane throughout the entire country, and it would appear that there would be a general opening of the motion picture theaters In most States on or before November 4. This statement Is made as the result of thirty-two telegrams received from the State chairman of the National Association of the Motion Picture Industry who were requested to report by wire on the conditions in their States. "HIDDEN FIRES" Mao Marsh is apparently of the same opinion, though she doesn't seem to he very happy about lt in this case.

The picture shows her in a dual role in "Hidden Fires." a Him being shown at the Rlnltu Theater, Manhattan, this week. Riley's famous brought to life THIS WEEK Perfect Thirty -Six any one but herself. Her days were a round of bridge, luncheons, teas, dinners. She slept all the time she wasn't trying to amuse herself slept to kill time. "Then suddenly she woke up one morning to find that another woman had stolen her husband.

To make a long story short, she got a divorce and life was duller than ever to her. "It came my way to help her, and I suggested that she go to France. She half-heartedly set about her nurses' training and by much influence she was finally landed in France. The need of nurses was so great that even poor ones were taken to the front line and this butterfly for the first time in her life had to work and she loved lt. Loved it so she didn't want to stop when her turn came to rest.

"That was two years ago. Now she is in charge of a ward, and happier, she writes me, than she ever was be fore in her life. She has suffered privation, hunger, cold, fatigue In France, but it has made a woman of her. And she is just 36. "The real birthday of a woman comes with the realization of what is worth while in life and in grasping the great truth that service is all." THE FLATBUSH THEATER Charlie Chaplin will be presented in "Shoulder Arms" at the Flatbush Theater for the first half of the week.

As an added attraction Norma Talmadge will be shown In "Martha's Vindication." For the last half of the week the photoplay will be Mme. Cavalierl in "A Woman of Impulse." The picture was adapted from the play of the same name by Louis K. Anspacher, with the scenario from the pen of Eve Unsell. The excellent Moss vaudeville will be shown as usual. She Cried Her From the day of her birth until three years ago Jane Oaker of "IJchtnin'," at the Ga'cty, spent a 00(j part of every day bathed in tears, for iri ief seemed to bo born In her.

Her family and the neighbors, too, declared they naa never heard a child cry und complain like little Jinny. They recommended nil sorts of things principally long trips North and West and bought a good sized library of books on what to do in tho case, of a child who had incurable melancholia. did not improve during Jinny's school years. She was always wrapped in a cloak of impenetrable and anguish. It was only when slio left school thnt they discovered what was the Jane longed to bo a tragedienne.

Her family objected, of course. Families always do. lint despite their protests Oaker went on tho ntnge. Beginning with K. Hnokett In all Shakespeare's downhearted heroines tho young netrtss went to William Farmim and continued lo encourage her rcmarkaliln propensity for grief, playing unfalteringly and happily nil the teary roles of classic plays.

Thus she. lived for several years, over-' working her tear ducts anil expnndlng her diaphiam with uiiglily Hobs at every performance, Then by cluineu shn accepted a comedy role in "Tho Dummy," nnd her llfo wns changed. From tho moment the heard tho first laugh she had ever Service And the Thirty-six Is the perfect birthday for a woman, according to Lillian Russell. "If I were given my life to live over," declared Miss Russell In her dressing room at the Palace the other day, "I think I should ask one thing: To be 36 again and to remain that age to the end. "No particular event marked my thirty-sixth birthday," she replied to the interviewer's question, "except that I was 36 before I learned the value of things, proportion and how to protect myself from the worries and the futilities that Most of us women go beating our lives out, losing our youth and beauty over.

I was 36 before I realized that happiness comes from within one's own heart; before I realized that service is the whole meaning of life and the secret of all th iyjainess any of us get here. "I can give a more recent Illustration than my own case," she said. "A beautiful, petted, vain young married woman whom I know very well, and love very much, was absolutely wasting her life. She had everything life could offer, but no real interest in Manhattan Film Houses Tho Rlvftll. J.

Stuart Blackton's new patriotic production, "Safe for Democracy," written by Anthony Paul Kelly and featuring Mitchell Lewis, will be the leading attraction at the Rivoll this week. The basis for the plot is founded on Gen. Crowdcr's "work or fight" order. Gladys Rice will sing. A Van Scoy scenic, the -Animated Pictorial, a Creel War Review, and a Katzenjammer Kids cartoon will be shown.

Tho Rialto. Mae Marsh in "Hidden Fires" will head the program this week at the Rialto. The story, in which Mae Marsh assumes a dual role, revolves about a news-stand girl who, because of her striking resemblance to the missing daughter of a wealthy worn-1 an, consents to tako her place in order I to restore tin: health of thn mother, Tho Animated Magazine, "Ford Eagles," showing tho construction of the auto manufacturer's submarines, and "The ISest of Enemies," with Sam Bernard in the leading role, arc also on tho program, Jeanne (ioidon. contralto, and Martin Brcfel, tenor, will sing. Ilw Strand.

It is patriotic work at the Strand. "Lafayette, We Come!" is tho leading feature. K. Lincoln and Dolores Cassim-lli will be s. en in the lending roles.

I.eonce ferret Is the, eiitbcr. The film giv glimpses of Marshal Koch, Sir Douglas llalg, (ion. Diaz. Gen. Pershiin; and President Wllnon.

The Topical Review, the Allied War Iteview and presented, ond Irene Am new comedy will be Tracy, Fred Grant will sing. "I ADDIF.S." Through the courtesy of David Be-lasco a special p'-rfoni iinco of his production or "Daddlra" will bo given tree to men in uniform tonight, Kt tho Lyceum Tin liter, whole this delightful comedy ill bo from the p.eiaseo Theater tomorrow. The pc Toi rnance iH nnd -r Hip auspices of the Stage Women's War Relief. i AT KEENEY'S For the first half of the week at Keeney's the photoplay feature Is Charlie Chaplin in "Shoulder Arms," his latest comedy. This Is said to be his best effort.

Sessue Hayakawa, In The Temple of Dust," will be on the aim program. The vaudeville feature will be "The Singing School," a big rural comedy singing act, with a cast of eight. For the last half of the week the photoplay feature is Dorothy Gish in "Battling Jane." The vaudeville program is headed by a sketch called "When We Grow Up," which has a lavish scenic setting and an original therne. For Klection Day, a special program has been arranged and the election returns will be read from the stage. A TETE-A-TETE IN Some witty fellow once said, when asked why ho talked to himself continually, that ho did so for two very good reasons.

"In the first place," mi he, "1 like to talk to an intelligent man. And In the second place, I liku to hear an Intelligent man tulk." Gitz Rice Lt. Gitz Ric. whose singing of his own trench ditties lias set many singing with him, and whoso performance of himself is a feature of "Getting Together," which comes this week to Teller's Shubert, is unique. Unique he Is because without any preliminary stage training he lias achieved a position of considerable importance on Broadway and at the same time he is still in the service of his country.

Before the war he was in the photographic business with Lis brothers in Montreal. Ho was a member of an amateur theatrical and musical organization that boasted some sixty members which used to indulgo in an annual show and dinner. In 1914 the Bhow and dinner fell on the night of the day that war was declared. The next day fifty-nine of the sixty had enlisted, among them Git. Rice.

They were of the First Canadian Contingent. He was a private, of course, and was sent to England for training. There he first started writing what he fondly describes us "ditties." These satirized the long hikes through the mud and wet, the daily fare of stew and the ups and downs of camp life. After several months ho was sunt to France, and it fell to Ins lot to act as first aid to a large number of seasick horses on the 1 rip across the Channel. He si ill retains vivid recollections of that passage.

Ho served wilh the First Canadian Contingent in Franco, won his commission in the field and saw over two yeurs of hard Itotwccn bat-tics lie went on welling his songs, which he sang 1o his comrades. That wus his only training lor the stage career which has slurtcd so auspiciously. BAHRIF'S Sam Solhorn, who li here from London, Is Janus M. Ha trie's Brutus," which ('Inn intcTts." is just arrived a ppi'iir in JSi i-imedy, "Dear cs Frohmiin, will produce, lette In the role of with William Donrlli. Mr.

Hothci-n will Impersonate tlio diame ter of Mr. I'unlle In Sir comedy, lie creiiled tills pari when the piece was produced Wynd hum's Tin-liter In London mid played It all through the run of (ho play at that house. At the request of Sir James, Mr. Solhorn will also assist In directing the American production of the comedy..