Keen Epigrams for GirlsSupplied by a Brilliant

Actress - Author - TravelerBy Ishbel M. Ross

- Louise Closser Hale is a woman oídaclded opinions and wide experience.8he has had the satisfaction of achieve¬ment in more than one direction. Thereare eight books to her credit, with anew one now in the publishers' hands onthe domestic servant problem inBritain. For twenty-five years she hasacted, traveled and written. She hasmade a particular study of women'sproblems and has definite theoriesabogt the importance of being con¬ventional. High-water mark in herpopular theatrical career was reachedwhen she took the part of Prossy inShaw's "Candida." At present shedoes an extraordinarily fine piece ofcharacter acting in "Beyond the Hori-son" at the Morosco Theater.Here are some of her epigrama for

girls:"The girl who wants to be uncon¬

ventional should wait until she isthirty to try it. By that time she willbe too fastidious to live irregularly."The girl who breaks the conven¬

tions society has built up for its pro¬tection always regrets it. She maypretend she doesn't."Every mother ought to make a girl

think that she is the rarest, most ex¬

quisite thing on earth. Girls aren'tsnobs enough."Intrigue is unlovely, and a great

alienist has told me that there is noth¬ing as disintegrating as a secret. Itcorrodes one."City girls have better morals than

country girls, more imagination and agreater degree of independence.

"I have studied the question frommany angles," said Mrs. Hale wheninterviewed in her dressing room atthe Morosco Theater, "and believe thatthe social foundation is essentially amoral one. For their own happinessand self-respect girls should be moresnobbish in the matter of love. Thequestion of leading an irregular life is,of course, up to the individual, and Iam not sure that we should all be gov¬erned by the same.laws. But I dothink that any one in the public eyehas no right to confuse little minds bybeing openly unconventional. Theirexample counts for something in thelives of hundreds of girls. What elsehave many of them to go by?""Too many of us do not recognize

our destiny, she declared. "I alwaysfeel sorry for a boy when the timecomes to choose his career. It is com¬ing to be almost as big a problem forwomen since their choice has widened.Personally, I'm the rottenest cook inthe world, but still believe the naturaloccupation for women to be house¬keeping. It is a gift that more womenhave than not. We frequently mistakethe gift, however, and go out with theintention of doing big things when itwould really be much better for usto be fine cooks."The problem of the wage-earning

wife.God bless her, for there's nonebetter!.is a serious one. It hasn't yetbeen straightened out. With the stampof the harem still upon her, when awife begins to support herself, herhusband's sense of responsibility isweakened. This destroys a fine mas¬culine quality. Wage-earning wivesgrow resentful as they outstrip theirhusbands. When it so happens thatthey do the larger share they feelhurt, even while they glory in thissuccess. Their husbands resent it, too.There is nothing else for a woman whohas* talent to do. She must expressherself. Of course, too often, talentis taken for the desire to show off.Too many homes have been broken upby women who haven't realized thattheir chance to show off lay in thekitchen. But I think the questionis one that will right Itself as timegoes on."The maid problem is of vital Interest

to Mrs. Hale. In an attempt to studyit and in getting color for her latest

book, "An American's London,1* shetook a house in London and employedgirls of every type. She sums up theresult of her Investigation in a nut¬shell as follows: "The trouble can betraced right back to the feudal system.Domestic service is personal service.Therefore, It la exactly the service ofthe slav« or vassal. Maids protestagainst things as they are. At thesame time they have the old feudal ideaof resenting kindness from their em¬ployers. The remedy has to come fromwithin, not without. Their minds willhave to be reshaped to suit new con¬ditions."

Mrs. Hale thinks that "Beyond theHorizon" is a great lesson in the follyand uselessness of stubborn pride."To me pride is a faded rose leaf,"

she said. "You can crumple it up andthrow It away or you can keep it inyour pocket. It is usually better tocast it away. In twenty-five years Ihave never found that one gained any¬thing by insisting on place or position.There is only one kind of pride thatis worth while. Take pride in yourwork and in yourself and you haveabsolute balance."The best sound in my Hie is

laughter."The greatest relief is to leave the

theater after one's first night in a newplay."The most glorious experience of

my life was the 19th of July."Explaining the significance of the

19th, Mrs. Hale told of being in Lon¬don on the day of the peace paradeand watching Pershing, Haig ana Fochride past."There was my general, ridingIn "Beyond the Horizon"

¦g]

i ;§

v

Louise dosser Halethrough the streets of London," shesaid. "I thought to myself as Iwatched these Londoners: 'If youcheer my general I will cheer yours!'And how they cheeredl I was filledwith a mad excitement. I felt thatsomething had to be done that wasdifferent from anything I had everdone before. So what do you thinkI did?

"I stayed right there at my vantagepoint watching the parade. I did notgo to the theater for the matinée. Idid not even let them know I was notgoing. In twenty-five years I hadnever missed a performance. So therewasn't anything else I could do thatmore completely made the 19th dayof July, 1919, a red letter day in mylife."

Famous, Young and Handsome,Robert Harron Turns OutTo Be Modesty Personified

We knew we weren't taking anychances in arranging to meet RobertHarron in the lobby of the Claridge.There is no forgetting any one youweep over and our tears had flowedfreely when he died in "The Birth ofa Nation." Moreover, as the goodyoung man in "True Heart Susie, hewas the most human sort of ministerwe ever saw on the screen. It mustbe confessed that we prefer him in atough part such as he had in "Intoler¬ance," but his finest piece of work wasundoubtedly the hero rôle in "Heartsof the World."

Robert Harronpresent. I'm afraid it wouldn't makeranch of an impression, anyway, forit's blond, although my hair is dark."

This was rather a shock, but screenstars always do have some surprîtesË store for you when you meet them

the flesh.Brarything els« about P.obert Harron

was quite according to schadule. He». Tfon».add together fourteen years.f boyhoed and the» twelve years of

pictures and yon hav* the sura toUI.He is boyish and manly at the sametime and has a smile that breaks slowlyand warms you through and through.There is a wistful quality about itand also about his thoughtful browneyes. But the thing we Lked particu¬larly was his modesty. Getting him totalk about his work was like putt'nghim unwillingly on the witness stand.He would have summed it all up in asentence if we hadn't kept on worry¬ing him with questions. And the sen¬tence would have been something likethis: "It wasn't I. It was Mr. Griffith."For Robert Harron is essentially a

Griffith product. He literally wentthrough the kindergarten with Mr.Griffith. And he first trotted into asot when he was fourteen and anerrand boy in Griffith's office. He hatseen twelve years of development inpictures under the most favorableauspices."What better chance could a fellow

have had than to work all these yearsin the Griffith atmosphere?" InquiredMr. Harron. "I watched the best»creen stars at work, and saw how theymade up, how they acted. I wasalways around, and you know thatevery one is a born mimic I wouldhave been stupid Indeed if I hadn'tabsorbed some of this atmosphere.

"I've been with Mr. Griffith eversince, except when he loaned me onceto the Goldwyn Corporation to do a

picture with Mae Marsh. You have noidea how wonderful It is to work fora man like him. He draws out every¬thing that is in you and you are neverin the least aware that he is doing it.Then I have also had the good luckto work right along with such top-notch screen actresses as Mae Marshand Lillian Gish.

Mr. Harron thinks that one of themost essential qualities in the mak¬ing of pictures is patience. Mr. Grif¬fith has the habit of making his play¬ers rehearse until their work invitesno criticism. It is a fact that themarriage scene in "Hearts of theWorld" was rehearsed in detail morethan two thousand times. Accordingto those who have watched him atwork, Mr. Harron Is quiet almost tothe point of reticence. His part fin¬ished in a scene, he walks off quietlyand smokes a cigarette as he waitsfor his next cue.He was born in Greenwich Village

and went to the Christian BrothersSchool there. New York is home tohim, although he has to spend a greatdeal of his time in California. And heisn't married, although so young,famous and handsome."Would you rather be « motion pict¬

ure actor than anything else?" weasked him in parting.And, to our surprise, he said: "Since

I've never been anything else exceptan offles boy, I haven't the least ideal"

Simple and Direct StoryOf "The Lily" in YiddishBy an Innocuous ReporterBy Louis Kantor

While it has pleased a few discern¬ing dramatic critics to comment favor¬ably on the plays produced by the re¬

cently organized Jewish Art Theatergroup, little attention, if any, has beenaccorded the other Jewish theaters ofthe city, notably the Irving Place The¬ater.So that when Mr. Schwartz an¬

nounced that he would present DavidBelasco's "The Lily," an adaptationfrom the French of Pierre Wolff andGaston Leroux, in which Nance O'Neillnow appearing in "The Passion Flow¬er." had the leading rôle in the firstAmerican production in 1910, I wentlast Sunday night to see what it wouldbe like.Jewish audiences are always very

noisy albeit cheerful and this one was

by no means an exception. When I ar¬rived most of the worn seats were al¬ready occupied and conversation hadreached its highest pitch. Finally theorchestra stopped sighing its waythrough shopworn pieces ofmusic; thehouse went dark and the curtain rose.Now to the argument of the play.

The chief characters are a countrybaron and his two daughters. Thebaron is a narrow-minded father whohas ruined the romance of ono daugh¬ter, Marta, who has become a spinsterand has begun to use the same tacticstoward Flora, the younger of the two.Flora, however, is young and meets inthe countryside an artist who in time"declares himself" and then the funbegins.The baron has a son, who is rather

mercenary in his affoctions and who,with his father's approval, wins thelove of the simpering daughter of a

wealthy manufacturer. A wedding isarranged, but in Act II the manufac¬turer breaks off the arrangements. Thebaron demands an explanation, hut doesnot get one. Our young financial swainrushes off to see his sweetheart'sfather and is told by him that he can¬not permit his daughter to enter a fam¬ily where one of the daughters "has todo" with a married man.The baron, already revealed as some¬

what lavish in his affections with anumber of "Paris ladies," becomes en¬

raged and Bays much of his "ruinedhonor." However, unwilling to believethat his daughter should so haveshamed him, he awaits her return andthen demands "a ves or no answer"to his questions. She denies the wholetale half-heartedly and unknowinglyparticipates in a subterfuge to securethe presence of her married lover.He comes, this Victor, who explains

that while it is true that he is marriedhe has not lived with his wife for tenyears. He offers to marry Flora iftho baron is willing when he secures a

divorce, but the baron utters aristo¬cratic words about the nobility of hisblood and the commonness of Victor's.

Convinced now that he has beenshamed by his daughter's actions, thebaron bellows for her presence andshe comes boldly ilnto tho room. Abitter scene follows in which Floraadmits her love for Victor and pro-

VaudevillePALACE.-Eva Tanguay will be theheadllner. Wellington Cross bringsa new tabloid revue in which he isassisted by Ted Shapiro, Nancv Bell,Marion Saki and Mary Allen. RoscooAils is also held over with his jazzband and Midgie Miller. FranklynArdell and company in "Tho WifeSaver," Keegan and Edwards in"Ukeleie Ike or Jazzas Iz," TheodoreBekefi and company in Russiandances and numbers from the Im¬perial Russian Ballet, Libonati andthe Juggling Nelsons complete thebill.

RIVERSIDE.William Seabury's "Fri-volics" heads the bill with Seabury,Buddy Cooper and the Hope Sisters,Elsie La Mont, Rose Stone, SoniaMarens and Lillian Stone. OwenMcGiveney, Emma Haig with JackWaldron, Anna Chandler, Claud andFannie Usher, Glenn and Jenkins,Olive Cornell and Senor Westony,Frank and Milt Britton and CruzonSisters complete the bill.COLONIAL.Blossom Seeley and com¬pany, Victor Moore and company,Irving and Jack Kaufman and ArthurFields are the principal features.Others will include Loretta McDer-mott, Eddie Cox and Jazz Band,Harry Hines, Bartram and Saxton,Delmore and Lee and the MarcoTwins.

EIGHTY-FIRST STREET-Anna Heldjr. will appear with Emmet Gilfovlein 'Bits of Musical Comedy"; Kathe¬rine MacDonald will appear on thescreen in "The Beauty Market."Others on the bill will Include "TheLove Shop," Harriet McConnell, Clif¬ford and Wills, the Le Grohs andJohn S. Blondy and brother, a photo-1comedy feature. ' j

Claims the fact that she is his "wife,if not in name, before God."Now, all this time Marta, the elder

sister, has been in the background. Asportrayed by Jenny Valiere, she is apale woman of thirty-five, with everyvestige of her beauty gone and herrather luxuriant gray hair brushedback in severe fashion. Her clothesare monotonously plain and her voicemusically modulated. Somewhat retir¬ing, she has had little to do in tho ac-tion thus far, except to express herintense love for her younger sister.The baron, ordinarily a domineeringperson, has taken advantage, as bulliesdo, of her very great mildness by con¬stantly nagging her. In short, the im¬pression she conveys very ably for twoand a half acts is that she is unim¬portant.

But at this point in the play, whenthe baron stamps about In a furiousrage and finally goes to strike Flora,she springs forward protectingly, andfor fifteen minutes holds the houseawed by a remarkable exhibition ofacting. What she says is not very im¬portant; it is even stickily sentimental,but her soliloquy is spoken with muchadmirable passion and heat, it is theclimax of the play, and as she tellshow her father throttled her romanceand how she Í3 now forever denied thelove of a man and children, sobs areheard througout the theater, and theblowing of noses is quite general.And, of course, the baron is dum-founded, and finally admits his wrongand Flora promises to wait for Victor.and all is well.

I should like to add another wordabout Jewish audiences, who are reallyfar more interesting than those onBroadway. When the play was doneand the fate of Flora settled they didnot go right home, but stood groupedin the lobby "argufying" as to therelativo merits of the characters andthe "social significance" of the play.Now, what Broadway audience wouldwaste time doing that?

Alexandre Sakharoff Plans to PlaceDancing on a Higher Artistic Plane

Out of the Taurio Chersonese hascome the man who would raise the artjof dancing to the level of the otherarts. He feels he is a pioneer, heexpects rebuffs, misunderstandings, buthe has set himself the ta'« of puttingdancing on the same plane as paint-ing, sculpture, architecture and fitera-ture. In his opinion it has held aninferior position among the arts de-spite its possibilities.Alexander Sakharoff comes from that

picturesque corner of Russia . theCrimea.and looks more Asiatic thanEuropean. Tall, finely proportioned,with glistening black hair and dark,shining eyes, every muscle alert, heimpresses one as a creature of springs,so graceful are his movements. Withhis wife, Clotilde, who created therôle of "Sumurun" in London in 1910,he will make his first appearance inAmerica at the Metropolitan OperaHouse on Tuesday evening, February17, under the patronage of Mrs. HaroldF. McCormlck and will show his con-ception of a new art in dancing.''Since I was a very young child Ih»ve devoted myself to the study ofdancin*. When I was a young man inParis I put this question to myself:'Given a perfect body, or a nearlyperfect body, «very muscle under oom-Diets control and with a desire and

Bride Playing Saving ^WifeIs Learning to Curb HerPenchant for Extravagance

There are certain disadvantagesabout being the wife of an actor ofthe older school; that Is to say, ifyou happen to bo on the stage your¬self. Mary Newcomb, who plays thepart of the parsimonious wile in "MyLady Friends," finds this so. She is mar¬ried to Robert Edeson, the high-hand¬ed doctor in "Mamma's Affairs." Thetrouble is he thinks that girls on thestage to-day are paid too much money,don't work hard enough and get toomany sugar-coated bon-bons, actualand figurative. Rather than let hisyoung actress wife suffer from cod¬dling of this kind, he sits in sternjudgment on her work, is her mostsevere critic and to quote herself"thinks it's more than she deserves ifshe makes five cents."Happily married people can afford

to talk this way about each other.¦especially if they are rather newlymarried. Miss Newcomb persists thatshe was married ever since she wasborn, but records go to show that itwas only last June. Anyway, it can'tbe very long, because she hasn't gotbeyond the domestic stage ,yct, and wefound her hanging curtains in herapartment in the Hotel des Artistesone day last week. We started to talkabout stingy wives. She was owningup to extravagant tendencies person¬ally when Robert Edeson suddenlymade his nppearunce on the scene. Hedidn't mean to be interviewed. Hojust got into the picture by accidentwhen his wife turned to him impetu¬ously with:"Bob, dear, do you love me as I am

or would you prefer me if I were likethe stingy wife in the play?""Oh, f say, I wouldn't want that kind

of wife," retorted Bob. "I want someone who will go out and spend with me;some one just like you.a good littlepa!.""But If I were careful with money I'd

be a regular wife, wouldn't I?" per¬sisted the bobbed-hair girl."You are a regular wife," retorted

ability to dance, what shoifld a dancerdo with hÍ3 artf'"It would be possible for such a per¬son to do only one of two things, eitherto practice the 'danse du corps,' thedance of the body, which is really noth¬ing more than an exhibition of finely pro¬portioned, active bodies of both men and

women. I rejected that, not becauseI hadn't the body and could not displayit to advantage, but because it seemedlow to me, without any purpose. Aboveall, I sought a purpose. Then therewas the dance expressing the simpleremotions of the soul, and this again didnot appeal to me."A painter conceives an idea, has athought and expresses it in color on a

canvas. A poet does the same withwords; a sculptor with clay or bronze.I decided to do with dancing what thepainter, poet or sculptor did with theirarts.to create in dancing ideas,thoughts, conceptions.""We don't want people to clap for us.We would much rather that they gohome after the performance is over andreflect on what we have shown them.'Every morning the Sakharoffs spendseveral hours in physical exercise!which he has learned from ChineseHindu, Japanese, Siamese and Javaneseteachers. The exercises are designed t<make every part of the body responalve and pliable at will.

Mr. Edeson in the most emphatic wayas he- strode out of the room.Mary Newcomb looked after him and

heaved a deep Bigh of content."Well, anyway, I am starred in matri¬

mony," she remarked enigmatically."It's a glorious feeling. It's the big¬gest thing in life. On the stage I'vebeen patted on the back so much in sec¬ond lead. Here's where I'm leadingwoman."

Miss Newcomb is still more or lesssurprised at finding herself on thestage again. When she married she de¬cided she was going to give it up andbe domestic. She was going to darnMr. Edeson's socks, for instance, andlead a nice wifely existence. But shewas soon Bwept into the whirl againand now she doesn't know how on earthshe is going to combine matrimony,the stage and literary work.

Yes, this is something else wo dis¬covered about Miss Newcomb. Herfather was once city editor of "ThePost" and she is fond of writing. Shedid publicity before she went on thestage and for three years was a cam¬paign organizer for Mrs. Catt. Sheis positive that matrimony and thestage go well together, but is not surethat literary work can be squeezedinto the combine."There is something about the theaterthat keeps you strung up all the time.I doubt if one could do much writingat the same time," she said. "And

then, when you have a husband in thebargain, you can't shut the door inhis face and tell him you've got towork whether he likes it or not. ButI never get tired of experimenting,"she finished whimsically."You know, we were talking aboutstingy and extravagant wives when Mr.Edeson appeared," we reminded MissNewcomb."Oh yes, of course. I didn't have

tho chance to tell vou what I thoughtabout it, either, did I? You know myline in the play, 'I think this modernextravagance is a horrible vice. I be-believe in saving?' Well, it's awfullygood for me to play this part, becauseI believe in the power of suggestionand I'm really.yes, really.inclined tobe extravagant. Every one wants tobe what they are not, so, of course. Ithink it might be' rather nice to helike the Baving woman in the play.I'm talking on principle now. Thereare some mental reservations."But I have one virtue," flashedMiss Newcomb, who knows how to beserious and gay at one and the same

moment "I don't spend money Ihaven't got I have some sense ofresponsibility about my husband andI do think it's outrageous for wives tospend more than their husbands canmake. They are simply mortgagingtheir future."Miss Newcomb has been on the stagefor only three years. Among other

things, Bhe played in "First Is Last,""The Woman in Room 13" and "Sick-a-Bed." She has been both ChaunceyOlcott's and Edeson's leading woman.

Stage Proves EnoughEducation for a Girl,"Boots" Wooster Says

People wonder just what is happen¬ing to the education of the manyyoung girls now active on the stage.They ask such questions asi Do theygrow up to be ignoramuses? Are theysacrificing their girlhood? In fact, justwhat is the reaction of youth to thestage ?"Boots" Wooster, the sixteen-year-old girl appearing with Leo Ditrich-stein in "The Purple Mask," says that,so far as she is concerned, the stagehas been an excellent and all-aroundschool. As she expressed it, "Being onthe stage is a great experience; it pre¬pares you for womanhood. It makes

your outlook broader and your feelingtoward people more sympathetic."On the stage one is constantly intouch with clever people, and this, ofcourse, makes one mentally alert. Andit is certainly best that a girl duringher impressionable years be associatedwith thinking people; real people, whoare working for their living and who,by the very nature of their work, musthave intelligence above the average."'What about actual studies? I amoften asked. Also, if I think girls onthe stage are neglecting things theyought to know. My answer is 'Indeednot.' On the contrary, we are learningthings they could not teach us in theaverage college preparatory school.For example, the stage demands per¬fect English. If one wants to be a suc¬cessful actress one must have a fullvocabulary and good diction. It isalso necessary to read the best playsaJ\d to know literature. French andother languages are always creeping in,so an ambitious actress will try herbest to bi a linguist. And, on theother hand, studies like algebra andphysics ean be mastered by the aid .£a tutor a faw honra each day."

Queen of a Screen Harem,Madge Kennedy Is Really

A Domestic Little ^ifeIt was a heavily voilod interview we

had with Madge Kennedy. We had ex¬

pected to run Into a frolicsome younggirl bubbling with high spirits andready for all sorts of pranks at theGoldwyn studios. But it's never safeto go by one's screen conception of astar. What we really discovered wasa demure Turkish lady of the harem,with nothing visible but those marvel¬lous brown eyeB, that laugh and danceso magically, smiling at us over anedge of yellow veiling. Swishing ropesof beads hung around her neck. In¬stead of dancing vivaciously about, aswe quite expected her to do, she quietlysubsided in a chair and proceeded inmeasured accents to tell us that shewas just in the middle of having hernew picture, "Trimmed in Red," taken.It has to do with Bolshevism in theharem.

This happened to be our week foractresses with happy home's and hus¬bands. One interview after anotherhad yielded up confessions of a similarkind. It was enough to force the mostunbiased of observers to the conclu¬sion that matrimony might have pointsafter all.We looked at pictures of Madge

Kennedy's husband, decided that hewas handsome, were told he was abroker and learned for ourselves thathe is the star's idea of a perfect otherhalf."You know, it'3 a funny thing," con¬

fessed Miss Kennedy, "but I've alwayshad to play the young wife part on the

Madge Ivennedy

stags». Even before I was marrlsd »was always being told that I had tkmarried angle on everything and that twas especially suited for matrimonialparts. So you Bee, I've had plenty oipractice." ' "*

"Then it couldn't have seemed at allstrange when you went in for matri¬mony personally?" we questioned."Not at all. It Just came quite nat.urally. Andal don't think that elthai

a stage or screen actress does her beatwork until she is married.providethings turn out happily. I can., th,*«why I have been so fortunate, but I a»quite blissfully happy. Kven my worWseems so much wore worth while Theris a danger when yra are single' of si!lowing your work to dominate you en.tirely, which, I think is always a mis¬take." ^

Madge Kennedy is one of those rarepeople who have smooth, fair sailln/luthe time. It was by accident that ab,landed on the stage. Her luck hasnever left her. She was a pronouncedsuccess in "Fair and Warmer" and"Twin Beds." She confesses that shawas born in Chicago and came to NewYork to study art. Meeting somastudents interested in amateur theat¬ricals she worked with them in puttia*on plays in a New England summer«*colony. Henry Woodruff saw her, de¬cided that she was a type, and soonafter she was engaged as leadltuwoman in "The Genius." She madeher New York début in "Little MisaBrown" at the Forty-eighth StreetTheatre under the management «fWilliam A. Brady. *

"I cannot honestly say that I Ift»working for the screen better thanbeing on the stage, although I get allkinds of pleasure out of both. Switch¬ing from one to the other is like ask.ing an artist who has alwavs used oikto do pastel work. The power to actis instinctive, however. It remainswith one either way. I have almostinvariably done comedy. It seems tome that comedy, to be tho right kindneeds heart interest, a real story anda touch of melodrama. To use a elansphrase, it must have punch.*

'

"Of course, I don't think pictures,¡have yet been taken seriously enoughWe do not half take into considerationthe minds that we control. While it iiperfectly true that they are chiefly f0;entertainment, at the same time thatentertainment, however light amfrothy, should have something constructive about it"I didn't like pictures at all at firslfor it seemed as though it was only«,case of rehearsing all the time witho"

having the satisfaction of quick resuits. But now it is different. Anthey do give you a chance to have somlife apart from your work, because ethe routine hours.""Were you really a very mischievoti

young person in school and in your aistudent days?" we asked Miss Kenned'for the spontaneity of her work in piitures and on the sttage gives one tiimpression that she knew how to lespeople a dance before she ever reach«the screen."Oh, not at all," said Madge, with th

meekest air, as 8he flipped her Turkisdrapings around her.But the large, brown eyes twinkle

nrovocativelv.

Vaudeville Twice as HardAs the "Legitimate" Stage,

Insists Georgia O'RameyWhen next Georgia O'Ramey attends

a vaudeville show as a spectator showill applaud even the dullest act. Shehas made her début in the two-a-dayand knows now that vaudeville actorsare serious, hard working members ofthe theatrical "profession."

Georgia, of musical comedy fame, hasjust finished playing her first week inNew York vaudeville at the Colonial,repeating some of her characterizationsin "Leave It to Jane" and "The VelvetLady.""I used to go to a vaudeville showand watch the acts, but would neverj connect the actors with the show busi¬

ness as I knew it. But now I realisethat I have come into a new world, sostrange that I am learning thingsabout it every day."Only yesterday a man said some¬thing about the N. V. A. to me. Ilooked blank. He looked surprised.'The N. V. A.! the N. V. A.!' he re-I peated. 'But what is it, my good man?1II appealed. In despair, he said: 'Whythe National Vaudeville Association.' ]didn't know there was such a thing.'Miss O'Ramey thinks vaudeville worlis twice as hard as tho theatrical wortto which she has been accustomed anithat the actors in it work three time:as hard."Many of them do not have eleve:authors to provide them with linesbut go on and with their own clowningdancing, patter and natural abilitjand make the audience laugh. It's aentirely new phase of the show business for me and a serious one, too. Itho legitimate you have lines and miterial from the brain of an author, anall the actor or actress has to do ito devote time to the development ccharacterization and delivery.Miss O'Ramey is a natural com«dienne, and is just as funny, or evefunnier, off the stage than she isfront of tho footlights. ClareniSenna, who plays the piano for her accame into the dressing room and help«himself to some of the cigarettes whi(

were lying about."I%deduct 50 cents a week from hsalary," she said, "for the cigarettesgets here. He never has any of hown."When Miss O'Ramey talks in t!vernacular of the two-a-day, which shas acquired in her short time inshe is at her best. Even her Belgimaid, Julia, who has only a sligworking knowledge of English, is preing an apt pupil. A few evenings a

a friend of Miss O'Ramey's telephonto her hotel. Julia answered the pho;"How's Miss O'Ramey doing at tColonial?" was asked."She's a riot," was Julia's pronreply, with but slight knowledge of 1meaning of the remark."Every day I am adding to my vauiville vocabulary," Miss O'Ramey hü"and when I go back to the légitimâtam afraid my friends who have nebeen in vaudeville will not underst«

me." 'Go out and take your bends,'paralyzed them,' 'we knocked thflat,' 'we followed the monkey act,'many others startle and amusedaily."If Miss O'Ramey could put intonext musical show some of the imtlons she showed in her dressing r<as she demonstrated her knowledg«vaudeville talk she might createbast part of her.career.Her real name, she insists,O'Ramey. There are only three ofparson« la the United States who 1

the name, she says.her father, hisbrother and a man in Washington-Georgia's family in Ohio planned smusical career for her, but she upsettheir hopes. She went to Oberlin Col¬lege, and during her summer vacationsplayed in stock companies. Aftergraduation from college, in 1906, shetried vaudeville for a short timeand then went to San Francisco,where she played in a musical stockcompany in 1908 and 1909 with BarneyBernard and other actors and actresseswho have appeared with succea« onBroadway."Seven Days," which was producedIn New York in 1912, was Miss

O'Ramey's first Broadway appearancein musical comedy, and she has playedhere almost continuously in seven ofthe eight years which have followed.Two of the plays in which she appeared

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Georgia O'Rameyas a comedienne were "Around theMap" and "Miss Springtime."Her stay in vaudeville. MissO Ramey says, will not be a long on»,as she is to start rehearsals very soonfor a musical comedy which will beproduced here.

"The Jest" Got Half a MillionIn the 257 performances of John

Barrymore in "The Jest," which closssat the Plymouth Theater next Satur¬day night to give the star a week'sfreedom before hie opening in "Rich¬ard III," Arthur Hopkins, the produc¬ing manager, says, more than $600,000has coma in through the box-ofllMwindow.

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Other Amusement NewiOn Page 8 j|