ADVERTISEMENT

The PhotographAnd The TelegraphEIGHTY years ago the first

photograph of the humanface was made by Profes¬

sor John W. Draper on the topof the old New York UniversityBuilding on Washington Square.About the same time ProfessorSamuel F. B. Morse perfected;his recording telegraph andfrom a room in the same build¬ing sent the first telegram:"Attention! The Universe:By Kingdoms Right Wheel !"

Like most other scientific dis¬coveries these successes were!the result of months of pains-;taking research. The thorough¬ness of Draper's work is at-1tested by manufacturers of thepresent day. Mr. George East¬man, I am told, has declaredthat what we know to-day aboutsensitized photographic paperwas known to Draper when thisfirst picture was taken.Research at New York Univer¬sity is still hampered, as in thedays of Draper and Morse, byinadequate equipment. In onefield these limitations will berelieved when the new $600,000Engineering Research buildingat University Heights is com¬pleted.

I have watched with keen in¬terest the construction andequipment of this building, andI can now visualize some of thecontributions it will make tohuman health, and comforts,and efficiency; economies in theproduction and measurement ofhest and in the use of heat con¬

suming devices; the greater de¬velopment of the internal com¬bustion motor; and specific im¬provements in the field of elec¬trical engineering.Two hundred and twenty of our

country's leading manufacturershave helped to equip this newresearch building. Their gener¬ous action is a testimony to thedependence of modern industryon scientific research.

Let me take this occasion toassure them that we shall try tojustify their faith. Throughthis new equipment, mayworthy successors to Draperand Morse give to the worldnew discoveries comparablewith theirs.

Chancellor,New York University.

N'o. 6 In n series oí Inform») tniks pub-ilshed I" the intorctil» of the New YorkVnlversity Kcriowment Funti. 513 FifthAvenue, New York City.

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Sr_3

Sundayofevevymonth

Ï I New York TribuneEducational Qmûc

Bodaiizkv RevivesForgotten Mu s i cAt Sunday Concert

Compositions on Which theDust Has Gathered forDecades Brought Forthfor Capahie Performance

By H. E. KrehbielWhether with such intention or not,

Mr. Bodanzky set forth much food forgossip, comment, criticism (as youplease) when he arranged the programfor the concert of the Frionds ofMusic, which took place in the TownHall yesterday afternoon. And inci¬dental happenings helped to kee'p hair¬less chins as well as gray beards a-wag-ging. The first composition on the pro¬gram was Mozart's overture to "Ido-menoo," the dust on which has not beendisturbed for decades, even when ontwo or three occasions the ballet, musicfrom the opera has been taken oilthe shelves for performance. Thencame Mendelssohn's "Reformation Sym¬phony," which we feel quite sure hasnot been played in New York since MrSeidl brought it out along with Wag¬ner's "Centennial March" in March1889.

Seidl had been Wagner's secretaryand coadjutor and believed in the priceof empty orchestral bombast which thecomposer foistered on the directors oíthe Philadelphia Exhibition of 187(5and he was interested in Mendelssohn*!almost forgotten symphony probablybecause the Amen formula of the CourChurch of Saxony had been utilized byhis master as the "Grail theme" ii"Parsifal," at that time a sacrosancwork to see which one hod to make ¡pilgrimage to Bayreuth. Why Mr. Bodanzky resurrected it after it had beeineglected for almost a generation wido not know, and inquiry is unnecessary. Whether it piqued curiosit;or revived memories that had growidim, it was equally acceptable in th'painstaking performance which MlBrodanzky gave it.

Strauss Acknowledges ComplimentThen came another utterance whici

belongs to the past, though its authowas on hand to hear it and graciousl;came down from the balcony to thstage to acknowledge the plaudits othe audience and express his thankto the performers. This was RicharStrauss's serenade for wind instruments, another of those "youthful sin?for which the lovers of good musifind it easy to forgive the composeof the "Sinfonía Domestica." Finaîl;there were five excerpts from the ircidental music which Erich Korngo!composed some two years ago forGerman version of "Much Ado AbotNothing." The German title of Shakispeare's comedy, we believe, Í3 "Vi<Lärm um Nichts," and it is under thstitle that we prefer to think of it iconnection with the music of the conposer of "Die Tote Stadt."Exactly one year ago, to a day, MKriesler played a transcription of ti

suite made by Korngold for violin a:pianoforte. We were puzzled then ito the relationship between the musand Shakespeare's comedy, and t!fact that we have now heard itwritten, instead of in a transcriptiohas brought no elucidation. The oveture is one of those trippingly merthings which might fit any play withoa too large infusion of gloom inThe grotesque march for Dogberry a:the Watch, is a capital bit of foolewhich suffers neither profit nor lo,¿"rom the fact that Dogberry aiVerger present themselves to the Gcman sense of humor as Crabapple aiPlumwine. But what incidents are iferred to by "Maidens in the BridChamber" and the "Garden Scene," '

cannot surmise. The music leavesin the lurch in both cases. That of tlatter is plainly designed to be lovmusic.

No Sentiment in MelodyThere are two garden scenes

"Much Ado About Nothing," oneAct III, where Hero and Ursula "anjfor Beatrice," who is "couched in twoodbine coverture" (a pretty casemixed metaphor, by the way), andAct V, in which there is some vorifencing which makes the sparksbut not a word in the sentimenmood expressed in the music.not ovthe line, suggested by Mr. Humiafcthe program annotator: "I will 1in thy heart, die in thy lap andburied in thine eyes." There'ssighing lover in such speech.We confess n!so to being at a liabout the concluding number, the mspontaneous and delightful bit in iset, which the composer calls a hopipe, though it is not a hornpipethe sense of Shakespeare's time?.hat of to-day.The scene of the comedy is laidItaly, and nobody ever danced ho

pipes in Italy unless it was an acin an English comedy. The hornpis distinctively an English thiShakespeare's people were all Englimen, of course, no matter what tlsupposed habitat, but it is a lisingular that Mr. Korngold should hchosen a title for his concluding dawhich is referred to only once inthe plays and then in reference t[form of tune only. The Clown in "Vter's Tale" speaks of the one Puramong the sheepshearers of his sij who sang "psalms to hornpipes."Mr. Korngold's alleged hornpipe ijolly piece, and its performancej the audience out into the dismal sstorm in a jolly mood.

Powell's New Overturei Performed by Symphony"In Old Virginia" Warmly Ap¬plauded by Capacity Audi¬

ence at ConcertJohn Powcll'8 new overture, "In Old

Virginia." was performed for the firsttime in New York yesterday afternoon

j r-.t the New York Symphony concert inj Aeolian Hall, and was warmly wel-corned, Mr. Damrosch and Mr. PowellI receiving and exchanging applause. Itbegins tvith a slow introduction with ai short persistent motif resembling the

I first noter, of "Dixie," while the mainpp.rt of the overture is based on two! contrasted themes, gay and grave: thefamiliar "Cl'ar de Kitchen" and aplaintiff negro melody, alternated anddeveloped to a climax. These give wayto "Dixie" proclaimed by the brass,first martially and then adagio andfortissimo in a sonorous conclusion.

It is an interesting work, distinctlymore than a suecossion of tunes; itsthemes are well handled and their har¬monization is unusual, occasionallybizarre, with a minor note runttlngthrough the whole work, even the gayerthemes. According to Mr. Powell's ex¬planation, it tries to convey an im-preesicn of the South before the CivilWar, "dancing gaily toward the dis-

| aster in the traditional aristocraticmanner."Tho rir3t part of the concert was de-voted to Mozart, the E flat nymphonyand the concerto in A. Harold Bauer

was the soloist, playing in a mannerwell adapted to Mozart, quiet, clear-I cut and flowing with perfec*. co-opera-tion with the orchestra. He also playedthe piano obblirrato in Cesar Franck'.-"Les Djinns," while Lekeu's adagio foistrings gave the choir a chance to dis-

¡play its excellence. The audience caredlittle for the weather. "AH sold out,'adorned the box office.

Carnegie Hall Fillo« 1To Hear Rachmaninoff'

Russian Pianist I)eN¡?ht8 Hear-ers With Varied Programand His Generous EncoresAn audience thr.t filled every sent

and occupied every available inch ofstanding room greeted Rachmaninoffyesterday afternoon at his first appear¬ance of the season in Carnegie Hall.The distinguished Russia'n well de¬serves the following that has becomehis in America, for his mastery of thepiano is of so fine a quality that everyopportunity of listening to him is :\rare privilege. Yesterday the beauty,nobility and brilliance of his playinggave constant delight to his manyhearers.

His program was unconventional. Itincluded three Ballades, Liszt's No. 2,Grieg's Op. 24 and Chopin's No. 3;his own Etudes.Tableaux Op. 39, Cminor and A minor, and Dohnanyi'eEtude (Cnpricciol Op. 28. But per¬haps the feature of the program washis arrangement of Kreisler's well-known Liebesleid, which proved aseffective for the piano as it was ad¬mirably played. Like Oliver Twist theaudience, kept asking for more nndRachmaninoff was generous in respond¬ing to the insistent appeals.

Premiere of Louis RoszaNew Hungarian Barytone Shows

Promise at MetropolitanLouis Rosza, Hungarian barytone, n

new member of the Metropolitan OperaCompany, made his first appearance atthe Metropolitan Opera House lastevening at the regular Sunday eveningconcert. In an aria from Verdi's "Riggo-letto," "Cortigiani, vil razsa damnata,"he disclosed an ear-filling voice, beauti¬ful in quality and rich in resonance,and generally gave promise of being avaluable acquistion to the organiza¬tion.His companions on the program were

Chief Caupolican, Mario Chamice,Adamo Didur, Florence Enston andJeanne Gordon. A pleasant feature ofthe evening was a Suite from "Le Coqd'Or," played by the orchestra. Otherorchestral numbers were the overtureto Wagner's "Meistersinger" andTschaikowsky's Marche Slave.

Taxpayers to Aid TreasuryWill Help Frame Regulations

Under New Revenue ActWASHINGTON, Dec. 4..Taxpayers

are to help the Treasury frame regula¬tions under the new revenue act, in¬ternal revenue officials said to-night.Suggestions for simplified regula¬tions, officials said, have been calledfor from the different basic industries,such as oil, coal, manufacturing andbanks and financial institutions. Thesesuggestions, it was explained, are tobe received both in writing andthrough conferences with representa¬tives of the various groups affected bycertain taxes.The first of these conferences hasbeen called for Wednesday with rep¬resentatives of the oi! interests of the

country to take up the question offraming simplified tax forms for thatindustry.-a-

Krussin Asks Aid of WorldInternational Relief Fund Held

To Re EssentialOXFORD, England, Dec. 4..Address¬ing a public meeting here to-night in

support of the Russian famine fund,Leonid Krassin, the Bolshevik Ministerof Trade and Commerce, asserted thatthe interests of the entire world de¬manded the raising of an internationalfund for Russian relief.The governments of Europe andAmerica, he added, had refused to

recognize the Soviet government, theirrefusal virtually amounting to a con¬tinuation of the policy of interventionand blockade, making relief impossible.<¦¦

Foch at Parade, Luncheon andThree Receptions in 7 HoursLOS *ANGELES, Dec. 4..MarshalFerdinand Foch passed seven busy-hours here t*-day. Attendance at acathedral, riding in a parade, a lunch¬

eon, the laying of a cornerstone andthree receptions.one each for theAmerican Legion, the French colonyhere and the general public, made uphis schedule.The Marshal departed to-night forthe Grand Canyon.

»

Strauss Conducís at ConcertRichard Strauss, the PhilharmonicOrchestra and Elly Ney, pianist, gave a

concert at the Hippodrome last eveningfor the benefit of the Central Euro¬pean Child Feeding Station. Dr.Strauss conducted his "Don Juan," "Todund Verklarrung," and Burleske forpiano and orchestra, in which Mme.Ney was the soloist, and completed theprogram with the preludes to "Lohen¬grin" and "Die Meistersinger."

On Üie Screen"AU for a Woman," at Strand;

"GeMUch-Quick Walling-ford," Hivoti and Kialto

By Harriette -UnderbillIt was our duty and our pleasure to

review the lives und lev»« of twofamous characters of history whichwere portrayed on the screen at two ofthe Broadway theaters yesterday. Oneis Geotyes Jacques Danton and theother is J. Rufus Wallingiord. Let ustuke first the ease of Georges JacquesDanton, because it is the morn simple.Life in the period of the French Revo¬lution was not the precarious tilingthat, it was in J. Rufus Wallingford'atime, when every trolley line magnatewho wore square-toed shoes looked likea chief of police to J. Rufus andBlackie Daw.The life and love of Danton are pic¬

tured at the Strand Theater in n dmmncalled "All for a Woman," which seemssingularly inappropriate. Nobody, cer-

t..inly not Danton, did anything verymuch for n woman. Indeed, it seemedthat in those days they deemed bothlove and life things not worth a sec-ond thought. The attitude of the menwas "Excuse me, my d :ar, Robcspierrohas invited me to have my head cutoff this morning. You will probablyjoin me later." But, of course, onegets no romance at all with history.They never áttemed to do anything savebe born, fight and get killed. DimitriBuchowetzki, who directed the produc¬tion, has pictured tho turbulent periodof the French Revolution just as wefancied it must have been. The Ger¬man actors and actresses lend them-selves to that sort of thing so muchbetter thun our people do hero athome. They do not repress; they donot look handsome; they do not stopfor close-ups.The story which "All for a Woman"

tells is a depressing one, and we havenot the Slightest doubt that peoplewhose mark in history was 98 or sowill enjoy the picture much more thanwe, whose average in history was 45.Indeed, if it liad been necessary to"pass" in history we never should havereached high school. Cutting off peo¬ple's heads isn't a ulear-ant pastime,and Maximilian Robespierre, the villain,beheaded the hero with impunity, undbesides, Danton was not our idea of ahero, anyway. So we could not acceptthe story as romance; wo had to justview it as history, in spite of the factthat each of the three heroes had alove affair. There were Yvonne, Ba¬bette and Lucille. Having been terri¬bly misunderstood in our little jokeabout Ian Maclaren and the brier bush,we shall refrain from saying that thelife story of Lucille, Danton's sweet¬heart, has been prettily recorded byOwen Meredith.Emil Jannings makes a real and a

powerful person of Danton. Janningsis without doubt a remarkable actor,but then they :-eem to take good act¬ing for granted over there. In the onepicture are a dozen persons who wouldbe stars over here. There are WernerKraus as Robesoierre, Robert Sholz asSt. Just, Joseph Rumîch as CamilleDesmoulins, Ferdinand Alter as Héraultde Sechelles, Edouard Winterstein asWesterman, Frederick Kuhn ns Tinvilleand Hugo Doblin as Henriot. All ofthese gave splendid performances, butthose which were outstanding were theperformances of Kraus and Alter as theradical aristocrats. Among the wom¬en there were no Pola Negris, and noforeign film seems complete withouther. Hilda Worner is spirited andpretty as the beggar maid sweetheartof Seehelles and Charlotte Ander isbeautiful as Lucille. As with all for¬eign films, the mob scenes are splen¬did and thrilling, and the reason seemsto be that in foreign films the multi¬tude is made up of hundreds of actors,while over here they are. made up ofextras. The picture, was titled andedited by Randolph Bartlett and is re¬leased by First National. It was-en¬thusiastically received.There is a short epilogue, also a

prologue, showing real scenes from therevolution, while the orchestra plays"Robespierre." Egbert Burnham sings"Gypsy Love Song" and Estelle Careyis heard in the epilogue.At the Rivoli and also at the Kialto

"Get-Rich-Quick Wallingford" is play¬ing. This is a Famous Players adap¬tation of George M. Cohan's popularplay, and if you think that it has notin it the stuff that screen plays aremade of, go and see It. It is cne ofthe most successful adaptations we haveseen, and whoever did the casting isto be congratulated. The types are ex¬cellent. For instance, wouldn't youthink that Sam Hardy was J. Rufushimself? Mr. Hardy is leading astrenuous existence, this week betweendodging the police as Get-Rich-Quickand dodging Kiki as Victor.

It seemed to us that Mr. Hardy waseven more convincing in the part thanHale Hamilton had been on the stage.And as for the rôle of Blackie Daw, itis the best thing Norman Kerry ever'aid. A short space btck we said thatAmerican actors did not get into the

spirit of t.hp thing as foreign nrtors«lid, but WO shall have to modify thatstatement whan wo remember W. T.Hays, and Horace Jamen, and JerryS nclntr, and John Woodford, and Wil¬liam Robyns, and Patterson Dial, andM. M. Barnes and William Carr. Thoywere east us the bucolic victims of J.Rufiis's schemes, and their portrayulswere excellent in fact, perfect. Theycould not. have done better if theirnames had been Emil and Franz andKraus and Werner.The women in the picture are Fannie

Jasper, Rufus's sweetheart; DorothyI Wells, Blackic's sweetheart, and Ger-trude Dempsey, Eddie Lamb's sweet¬heart. Threo stage beauties were in

¡these rôles Doris Kciiyon, Billi««Dove and Diana Allen. Miss Allen'»part was tno smallest, but she has thegreatest pulchritude. In fact, shewould shine anywhere.The titles aro evidently lines from

the play, and they kept the spectatorsIn roars of laughter. Seldom have wc

j been a part of such an appreciativeaudience. Whiio wo do not mean thatthey aro in any way similar, there isa certain quality in "Get Rich QuickWalllngford" thiit was found in "TheMiracle Man." It ia something thatmakes you lose yourself in the story,and, come to think of it, there is a cer-tain likeness in the themes. Both showthe workings of a crook's heart and hissubsequent reformation. Every one en¬

joys a reformation if it doesn't have tohapen to himself.The scenario was made by Luther

Reed and the picture was directed byFrank Borzage.The overture dansante is "The Czar

Maiden," with Victorina Krigher. Themale quartet sings some old songs, in¬cluding "Oaken Bucket" and "Just aSong at Twilight."At the Capitol John Barrymore con¬

tinues in "The Lotus Eater." MabelNormand in "Molly 0" is at theCentral.

The Stage Door"The Varying Shore" by Zoe Akin»,

starring Elsie Ferguson, opens to-night, atthe Hudson Theater. The curtnln willrise »I 8:15 o'clock.

Marjorie Rnmbenu's engagement In"Paddy's Gone o-Huntlng.'' at the Plym¬outh Theater, will conclude December 17.The. piny oven» la Chicago Christmasnight.

"Face to v )?c," by Vincent Lawrence,tho new veJ . .o for Richard Bennett andViolet Hem'. », opens In Atlantic Cltv to¬night.

Frita Leiber will begin his season InShaespearlan repertory December 2S Inthe Lexington Theater.Peggy "Wood will sing the prima donna

role of "Pomander Walk." which RussellJanney has In rehearsal as a musical com¬edy, Tho production will open Christmasweek.

Joy Ellis, nn English singer, and HaroldJ. Varfcey, of Boston, have boon added tothe cast of "The Chocolate Soldier."Follóla Murelle will bo Donald Lrtan'sdancing partner.

"Under the Bamboo Tree." wilh BertWilliams, had its out-of- town premier inCincinnati last night."Llgbtnln' " is the attraction at theShubert-Rlvlera this week.

V. P.ay Comstook and Morris Cest an¬nounce their intention of making at anearly date an all-piar dramatic rovlval oí"Experience," with a cast recruited frommotion picture stars now unemployed. Theproduction will bo shown during tho holi¬days.

Beginning to-day the Christmas featuresof tho Hippodrorñe, show will be showndaily. Tho new scenes are designed to in¬terest children. They are "The Workshopof Santa Claus." a clown carnival and"Memories of Minstrelsy," Introducing amusic program of okltlme favorites ofblack face days.Aeolian Hall, '.Co-m'w (Tues.) Kvg. at 8:15

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.FOOL« PARADISE'!Presented bv Jesse L. LashyKeaerved ISeats on Sulo Now.

WALTER DÄMROS0H,Carnegie Hall & È%:. l%\ S

WAGNER PROGRAM"KHINEOOLD," Scrne I (entire) ana Fi¬nale; Exc-orpts from "Thi> VAI.KYK1E'and "TIEB TWILIGHT OF TDK GODS"Soloists: limes. VAUKIirRST. .MOU¬TON-HARKIS, KIANK; Messrs. 1»AI¬TÓN und DAVIS.

Carnegie Hall, Sat. Art., Dee. 10, at -»:S0Symphony Concert for Voting People

coLo.feT HÄR0LD BAUERTicket* at box oriVc. GBORGK ENGM5S, M»r.

TOWN HAI.I-. THIS AITERNOON atjigD|LE PAIKHDRSTSONG RECITAL. (Mason & Hamlin.)

TOWN ÎÎaÏ^ TO-NIGHT AT 8:l.r»

M1ÇHEJ: HOFFMANVIOLIN RECITAL. (Mason & Hamlin.)Town DiUl. Satunlay Aft., Dee. 1«, at 2:30

iD PIANO RECITAL. (Baldwin Piano.)

TOWN HAIX, Snndny Aft., Dec. 11, ul 3lilMILIO I»K

2D SONG RICCITAL.OmJi,

(Steinway Piano.)

METROPOLITAN ÄTO-MIGHT. g:18, TOTE STADT. 3cx\Us. Telva;RarroVd, Leo::hardt, Diaz. Laurent!. Bodanzky.WED. at 8, MEFISTOFELE. Easton. l'eraU.-i.Pctinl, Ho-vard; Oifli, Dtdur. liada. Moraii/.oi.l.THUR3. at 8 (IUvlval), ERNANI. Ponaall«,Calli; Martlnilli, RutTo, Marduncs. Papi.FHI. MAT. at. i. PARSIFAL. Mauenauar;Rembach, WT.Uelilll. Gustftfson, Plilur. B"daii.-.ky.FRI. at 8, BOTílS GODUNOFF. Gordon,MclaunoU. Dalt'W; Oiailapli-.e (Special Ap-twaranre), Harri ¡1, llotlilor, Bada. Papl.SAT. at 2. TOSCA. Forrar: Martineill. Scottl.Malatesta, D'Anielo. Sloranaoni.3AT. (Pop. Prices) at 8, CAVALLERIA RU8.TICANA. Ji-rltza, Perlni; rertlk'. Picco.PAQLIACCt. Kftstou; (r!ml. DeLuca. Morarzonl.NEXT MON. at 8, ZAZA. Farrar. Howard,Ecolier; Martineill, De Luce. Bada. Moranaoni.

JUARUMAN PIANO USEIX

NEW YORK'S LEADING THKATKKS AND BVCCESSEflNEW AMSTERDAM. Wett 42 Et. EvCî. H :15.

Matinee!» Wed. «ml Sat. at Î:Ï0. Mat». WEO, I» 8AT. 50c. to 12.60. N'j H.sher.Matinees Best Seats í2!Sg^AB¡!8í£??ílLEON ERRO!* '"CXhA

NEW AMSTERDAM I'COF ATin IllsNew Succès», The Dream Maker

at B:15.Matinees Wed. and »at. a: i;l~>.

Wt THURSDAY ^Biggett Cast of the Season

beaded by Otto KfUffer, Kmmett C'urri-«uii, Muríalo Gilimore, Mary Bolnn<l inPAÍ h AIiMSTRONG'8 FAMOUS PLATalias JIMMY VALENTINE"]^«

NEW ZIEGFELD MIOWICHT FPOL'C.

henry mjjärs^si%isrG f^iwií".-' Aia¿

m BOOTH TAfiKlí«iTON,S Cr.*^- Con**,THE INTIMATE STB/VNlGERS'

63d 8t. Mu-lc Hall, iKt B'vtav Ä Onl P WSHUFFLE ALONG '

PerftOTaann« WET», at 11

B'jr, 38Mí- Wed

David Belaseo's & A L Lrlanser'í 1KNSCKERBOGKERDavid

1&DCLAdwU Mat». Tluirs. & Sat, 2 íiOMISS LENORE ULRIC as KIKIhat been superlatively acclaimed byever)) A/cn> York critic. This youngAmerican girl startle* the theatreToilh her great and amazing perform¬ance of the little street girl of Paris.

nk:sMIGHTIEST DRAMA OI- li!L AOL.

K.LAW Bt Bw. 8':30Mats. WmI. i; MABfEB$S3-.UUESOFTBIFISie ,!;.,.,

th NORMAN TKLVOIL

THEATRE

&l*THE PERFECT PC- Ol:'DO Mais, Wed. & Sal. 50c to $2

Mff. Mrs. 11. B. Harri*.Wost it St. Bryant 0X0.Wvenlng» 8:l.r). MatliiaesWednesday & Sat., 2:15.

MUSIC BC»XWost 45th Strret.

TeU'iihi.ne Bryant 1-170.Kvi'tiings 8:15. Matinee?Wednesday & Sat.., 2:15,

HÂRRÎS^ÎS:Muís. Wed. & Sat., 2:30.

SAM H. HARRIS' ATTRACTIONS-MR, HARMS Annohr.crs

THE RETURN TO THE ST.UiE Or

ELSIE FE"THE VARYING SHORE"

OPENINGT0-&GHTAT >!:i".

' i RP

b!ħ "MUSIC BOX WZWl"William Cellier, Sam Bernard, Fterenee Moore. Wllda Dennett, Js,i»««ntlpyjlvy Sawyer. Irvlno BN-iln. rati-j othara. Btaei i !:. liaaiard -»h-tLJISgLHggJE^ggW KVtai Mti.B IN AMi;ii:fA "

,

"A Ht'GESUCCESS" "SIX CYLINDER LOVE '

;,FRAÄKW. West 42d St.Brga. at 8:30. XallneaaWAD. and SAT.. ï.-so.LYHM FOKTASilE

mer«i«awiji «¦'aam^.ttmrnt'.-^tt.. i

OPERA RECITALMRS. GEORGE LEE BREADYTO-MORROW (TÜE8J. DEC. 0. 10^5 A. .M.

"DIE TOfE STADT"

î»f\EIT TU RATHE, West 4S St Rvgs. R:r0.VWBll MatlnueA Wednesday .-.iul Sat,, 'J:20."Mirth producer. * » * A succsatlon of lively

situations. '.Kto. Journal.

"HER SALARY MAN"with Rt'TII SHKPLEY.

I iDCQTV THEATBB. WEST 42 STRKET.LtDblf I I Ev^»,S:20, Mat«. Wcd.&Sat. 2:20.

GEO. M. SCHAM'S COMEDIANSIn 'HIE WHOLESÖkE MTJBICAL COMEDY

if

aiMjPE9rv%/ "THBIIX8."

(p«.J4^r '<& .N. v. ti"Irresistible vocal charm snj color.(etching In-cldenis, fajclnailno phMs."->N. Y American,

st i'j K-.- '. j piTr-._.j. aj.i Sal

"DELICIOUS COM£OY."--Ah:i Dale Ajrerkaa.DAVID BELASCO pr*lent»

Mats. W@d, & Sat., 50e to $2PllliPh Hi lltd* Thea, 49. E. of B'T. Ev». S:30,rUItUil Ob JUUJf Mata. Eriday and Sat.. 2:80.

LYCEUMLICI0U3

LIONEL'" "IDE mn wir A Pari Ian »

i aumtY.

MiwYfiun unsr play

A M oF Dkrcei!58i¿

HOTEL AMBASSADOR.Hall 4 Elliott. Vnnd. :U34. Kaabc Piano.

MARK

B'way & 47th St.The Corttiiwntol Screen Triumph!

"ALL FOR?*

EMIL JANN1NGS.A FIRST NATIONAL ATTRACTION.STRAND SYMTIIONY OKCKESTlLi.

HIPPODROME, SUNDAYNIGHT, DEC. 11, at 8:15

GALLI-CURCZJMT APPEARANCE AT

mrrooKOME this seasonSEATS NOW ON SALEPrices: $1. »1.50, ÎÎ. $5.50. »I.

(Stelnway Piano.)

HELD OVER FORA SECOND WEEKJOHN

lARRYMin "The Lotu» Eater"

Directed by Marshall NeilaaA First National Attraction.

"One of the llnest screen achieve¬ment» oí the year."

.Patterson McKutt. Globe." "The Lotus Eater* seems to usone play in four hundred. Wehave seen no picture one-eighthso amusing: tu a seMHon."

.Heywood Braun, "IVorirf.

P-;ts & Pieces. Frtak W>'o.. Howard i- Lewi«, Arthur *Morton Hau-:. K-, n \ -

Eayiies, A. C, Xitlntyre «¡,

mmllttAPGfliAVE

GREATESTsuccess

3«.i* Ch«rla« D*-nton » tv« World

¡SSÏ TOCËTHËS

JACK HOLT in"THE CALL OF THE NORTH"aud SUPIIEME VAUDEVILLE.

1ACK HOLTIn "THE CALL o» Uta NORTH

»lid HAROLD LLOYDin -liiCVER WEAKEN."

and llSUAL BIG VAUUCVII.LE

Haity I. »lanhaJI. Ins WJ111*»«Prauk û; WL..Ï1 BrattxM. ft. .'S. Jamea * Co.,Uiitne A Flmi.-y. JACK-TÎ1IS CA1X Ui' TH» .-.

ÎWKfS 0JÎ INÏW0îa^ita51

Beltvyn Theatre, 42nd St., AVent of U«aj,To-morrow (Tuesrta>> Aft. at o.

RUTH PAGE"AMERICA'S FOJOaiOeT CLASSIC DANCIJL'

SALZED0.THE WORl.D'S CitEAT>«ST BASFIST'

VAN V0LLENH0VEHPIANIST

IN AID OF,The New York Homo for Hotne!*»" P*-. »

Book Committee oti Chlidrens Librarle!»Seats'$3 to to at Box Ofnc»

MgL CATHARINE A. ÖAMMA». iS W. »tKS|<