O Interesting Ghat and Stage Gossip for Playgoers Fritz Leiber Refuses to Eat, Drink and Be Merry As He Discusses "Hamlet" < By Harriette Underhill One day last week Fritz Leiber ran away trom his Shakespearean re? hearsals long enough to invite us to tea, and this is no small undertaking when one is conducting the rehearsals in Atlantic Highlands! Did you over have tea with Mr. Leiber? Well, then, you know that it is tea in name only?that is, as far as he is concerned. As a matter of fact, we do not believe that Mr. Leiber ever eats or drinks anything. He invites you to tea or to dinner or supper be? cause he knows that you like it. The day we had tea with him he said "The same, picase," without having any idea what we had ordered, and when his toasted rnufiins and chocolate and petit fours were placed before him ne regarded them sadly and loft them there. "No wonder you have a lean and hungry look," we said. "Don't you ever eat anything?" Mr. Leiber shook his head, but whether in negation or in remonstrance we do not know. So we continued: "Perhaps Shakespeare had you in mind when he said, 'Who wantcth food und will not say he wants it, or can con? ceal his hunger till be perish'; or per? haps you 'cloy the hungry edge of ap? petite by bare imagination of a feast.' " We had an idea that Mr. Leiber would be impressed by our knowledge of Shakespeare and would give us a chance to tell him how we used to be with Forbes-Robertson, but he on y said: "What they really want, I think, is speed. Not in the reading, but in In "The Woman of Bronze" Margaret Anglin and Walter Con noli v the changes. The average theatergoer does not care enough for Shakespeare to enjoy sitting in a dark theater for five or ten minutes while the scenes are shifted, and what I am going to work for is speed. If possible, I want only a few seconds to elapse while the changes of sets are made." "Which of the plays are you selecting for your r?'percoire? 'Hamlet,' of course, and 'Romeo and Juliet' and 'The Merchant of Venice.' Do play those, you look so marvelous in the costumes. You know you are the rnn^somcst Hamlet we ever had and in 'The Merchant of Venice'?weil"?? "Yes, but you won't find me very handsome in 'The Merchant of Venice' | this time. I'm not ?r> do Bassanio. I I'm going to do old Shylock himself. And I'll do 'Hamlet' and 'Komeo' and : 'Richard III' and 'Macbeth/" "And won't you do 'Midsummer \ Night's Dream'? That is the best of | all, and you must play Bottom." "Yes, 1 want to do that later, but in i my first venture I'm not going to do i any cf the comedies." "And picase make your characters human beings, won't you? Why, you know Shakespeare's melodramas are even better than Owen Davis's, and if we were a producer we should treat Juliet just as though she were Nellie, the beautiful cloak model. Most peo? ple think that the diii'erence between ; a Shakespeatan actor and an ordinary ; New Productions Open Out of Town, Ready For Broadway Showings "It's Up to You," a musical comed; by Augustin MacHugh and Dougl-> Leaveit; lyrics by Edward Paullor and Harry Clarke, music by Emanui Klein and John L. Mac.Manus, open?.', at the Grand Theater, Trenton, N. J . Monday, November 8, with Alboi Sackett, Zella Rambeau, Rex Dantzlc r. Douglas Leavett, Harry Short, Barret Carman, Almerin Cowing, Frank Michel, George Spelvin, Royal Cuttet, Ruth Oswald, Ruth Mary Lockwoc?! Florence Earl, Florence iftpc, Made ?^feline Dare. Bernice Hirsch and Franci . H^B/ictory. No New York date set. f "The Law Divine," a comedy by Ii. mmV Esmond, opened at His Majesty's Y Theater, Montreal, Monday, Novembe ' 1, with H. V. Esmond, Eva Moore, Le:s 1 lie Irvine, Kate Johnson, Violet Camp? bell, Faith Liddle, Florence Wood, Leonard Upton, Mollie Lumley and Silvia Willoughby. No New York dati set. "Erminie," revival of old light opera music by E. Jakobowski, lyrics by Ed ! ward Paulton, revived at Academy ?> Music, Baltimore, Monday, Novembe. 8, with Francis Wilson, De Wolf Hop? per, Robert Broderick, Alexander Clark, Warren Proctor, Madge Lessing, Richard Malchain, Adrian Morgan, E. John Kennedy, John II. Reed, John E. Douglass, Irene Williams, Jennie Weathersby, Alice Hanion, Angela Warde and Rosamond Whiteside. / No New York date set. "When We Are Young," a comedy by Kate L. MacLauren, was produced at the Stamford Theater, Stamford, Conn., Saturday, November 6, with Henry Hull, George Marion, Winifred Lenihan, Frank Monroe, Grace Reals, Florence Carpenter, Dorothy Day, Oliver Hall and Gertrude Clemens. No New York date set. "The Toy Girl," by Eugene Walter ("baeea on the story by H. 0. Ward), was produced at Stratton Theater, Binghamton, Monday, November 8, with Constance Beaumar, Ruth Shepley, Richard Bartlett, Virginia Howell, Nor? man Hackctt, Louis Alb -n and Dorothy Clay. No New York ,date set. ? ?'Son of Tarzan" Released A. E. Lefcourt, president of the Pio? neer Film Company, announces that "The Son of Tarzan," adapted frcfin the newest Tar-/.an story by Edgar Rice Burroughs, will be released next montIV. i actor is that the Shakespearean actor rests his hand on his sword hilt in ? . toad of letting it dangle from his ; cuff and reads it is lines so that they a'ill quite bailie the layman. The rea :-oh they think this is so is bucauso ii is so, usually. You won't do that, will you?" "That i*s exactly what I am working : for. 1 want to interest every one! 1 want to produce these plays, not for ; the students of Shakespeare, but for , any ono who likes the theater. It is ; the same as grand opera. The of tener i you, hear it, the better you like it, and after people have become interested in the tales then they will learn to ap ; prec?ate the telling." If any one is fitted to speak authori? tatively on the subject it is Fritz Leiber. i .Most of his career has been given to ( acting in Shakespearean and classical ! plays. He believes with John Barry Lmore, "It's a steep hill to climb any f way, and you might as well carry a bag i ?$t diamonds as a bag of coal." Mr. I Leiber has enacted the principal r?les i in a greater variety of plays than any I Shakespearean actor now on the stage. He is ?o sadly romantic looking that you fancy he must have been born in I Kussia or some other oppressed coun I cry, but, somehow, he happened to be | born in Chicago?an anachronism, say we. His first experience on the stage was in stock in his nativo town. He was young, dashing, handsome and ambi? tious. His stuck work was to him but the stepping-stone to the fulfillment of his desires, and his desire was to be a great Shakespearean actor. Ben Greet, then in the heyday of his glory, gave him his first opportunity to gratify this aim, and ho became the juvenile leading man. He was Pros? pero in "The Tempest," Brutus and also Caesar in "Julius Ca?sar" and Romeo in "Romeo and Juliet." lie then joined Julia Marlowe, who was playing "When Knighthood Was in Flower," and he was singularly suc? cessful in these romantic plays. ! Then for twelve year:-) Mr. Leiber | was with Robert Mantell. He played all the juvenile lead', often alternat j ing with Mantell. His first appear \ snee as Hamlet was with this actor. i lio also played Romeo, with Genevi?ve ? Hamper as Juliet. Yet, with all this, Mr. Leiber has I found time to make some pictures. He i appeared not long ago in "Song of the i Soul," and he has just completed a ' screen version of "King Solomon." and i he says that ho likes it. Mr. Leiber i will open his season about Christmas j time in New York. beryl iVlereer, wi?o give? a i.euiui*?vai*ie penonnance hi (Loster character Hamilton Signs with Goldwyn Clayton Hamilton, who went to the Goldwyn studio in California last spring, likes editorial work for motion pictures so mach that he has signed a long term contract with the company. Mr. Hamilton, who has been a pro? fessor of the drama at Columbia uni? versity for a number of years, has been granted an extended leave of absence from the university because of his desire to identify himself with motion pictures. New "Art Stills" in Vogue Nikolas Murray. the celebrated Greenwich Village photographer, is do? ing a series of "art stills" for W. K. j Ziegfeld's new Florence Reed picture ! now being filmed at Fort Lee. Carmel Meyers in New Role Carmel Meyers has started work on "The White Peacock Feather." She has just completed "The Orchard." What Happened to Jones In the Last Decade Sounds Like Fiction Within the last three months nearly every picture person we have met has asked of us, "Do you know Richard Jones?" or "Do you know Jonesy, who is directing Dorothy Gish?" It began to look as though not to know Jonesy argued one's self unknown, so we ex cuscd ourself by saying, "But, you know, I've been away for six- months." When we inquired we learned that Richard Jones was about tu go into the West, but hadn't yet done so. So we locked him up. He was living at the Waldorf, and he immediately asked us over to dinner, so that we might meet Mrs. Jones. Well, Mrs. Jones is the most perfect beauty you ever saw. It seems a shame to waste such loveliness ami not have it immortalized on the screen, but Mr. Jenes won't ! ear of it. Mr. Jones is now only twenty-six years old, and Mrs. Jones is several years younger. She really looks like Mary Pickford and Mildred Harris and Elsie Ferguson and Katherine Mac Donald all lolled into one. This story was to be about Mr. Jones and his achievements, but, then, surely winning Mrs. Jones is the greatest of these, and they confessed that they were still on their honeymoon. Richard Joins was born in St. Louis just about the time that motion pic? tures were born. Along about the time that young Dick was ready to work mo? tion pictures were waiting for him, and lie never has worked at any other busi? ness. He obtained his first position with 0. T. Crawford, who at that time con? trolled a chain of theaters in St. Louis and who was owner of the Atlas Pro? ducing Company. Dick's first work was connected with the filming of a Jesse James series of "lillems." That was nine years ago. But young Jones had the wanderlust and he wont out to the Coast on a chance, Laving a perfectly ?jood job be* hind him. ..lack Sennett was waiting for him, however, and he started as film cutler, and before long he was head of his department, and soon was writing those subtitles which helped to make the old Sennett comedies .fa? mous. Then came "Mickey" to star Mabel Normand. Five directors fell down on i' before Mack Sennett made Jones a iMrector and gave him "Mickey" to do. 'Mickey" proved to be the Invest thing in super-farces and the name of Jon"s became immortal. When Dorothy Gish left D. W. Grif? fith, Mr. Jones was chosen to direct her. She made threj pictures before she went to Europe. The first is "Flying Pat" and the other two are still unnamed. And tiu-n Mr. Sennett wired that he was waiting for him again on the Coast. Mr. Jones joined him there and found O1.*! Sweetheart i?? "TI*-*"?*--'*< ? ' '" ? > him waiting with a contract in his hand for $100.000 a year. He is to make super-farces?big five or six reel features?and he will have his own studios and the cream of the Sennett company for his casts. The first pic? ture will be called "Molly-O." So that is what has happened to Jones up to date, and we don't intend to lose track of him again. He has two lobbies-yachting are! motoring? but he expects to be so busy in the next year that he won't have time for either of these sports. H, U. ? Moreno to Make Features Antonio Moreno's first feature pic? ture for Vitagraph will be "Three Sev? ens," by Perley Poote Sheehan. Tony has just finished his latest serial, "The Veiled Mystery," and will make several feature productions this next year. He will continue to work at the Western studio. tE?je Cboltt??o?? o? a ?>tar Jfrancc? ii?tnrr When Frances Starr was a school-, girl in Albany her favorite study was not in the curriculum. Nor was it even known to her teachers. But she kept at it just the same and pursued it first hand every time sin- could get away and attend the theater, for this de? lighted her more than anything else in or cut of the class books. Her decision to devote herself to it came after see? ing a performance of Mrs. Leslie Carter in a revival of "Zaza." She made her first appearance on the stage in 1000 as Lucy Dorrison in Rob? ertson's "Home." During the next few seasons she gained experience in vari? ous companies, appearing in association with Charles Richman in "Gallops." Writing about Miss Starr David Belasco gives tai.- account of his belief in her: "When I first saw her play 1 watched her performance with the closest at? tention. Her entrance was greeted by a spontaneous outburst of applause. She was almost a child then, a sweel faced girl, delicately formed, with a beautiful forehead aid line, intelligent ey v. 1 was most favorably impressed by lier performance, but at the time.I . d no part fur her, "Her opportunity came in the second >ason of 'The Music Master.' Miss dinnie Dupree was to leave the com any before the close of the season and i needed some one t<> take her placo. I remembered Miss Starr and with my '?lend and stage manager, William Hoan, I went to the Garrick to see her m 'Gallops.' "In thai, play 'the hero staked his all' an a horse race, and the future happi icss of the young lovers hung in the balance as the race took place. The heroine and a coaching party were near the track, and Miss Starr stood on the leps of the coach facing the audience. As the race was being described Miss t?rr's facial expression was so re inarkable that she held the audience <<\- several minutes. "The various expressions of hope, do? uai r and ?oy came and went accord ok to tii'- movements ?if the hoi - - i'he tumult of applause was a tribute ?ml to the piny nor to the scene, hut te 'he perfection of Miss Starr's art. And is ?in exhibition of pantomime ' have seen nothing to Burpass it. I gave instructions to Mr. Dean tc ?end for her to n^k her to sign a eon tract as soon us possible. "The appointment was made foi 10:80 in tip? morning, When I arrive? if 0 Mr. |)i-.in came to me Bmililie roadly. 'Miss Stair \h in my office, he said; 'she has been waiting sine.- . o'clock.' I found her even more at tractive Ihnn I had ^imagined. Wv hnlr was soft and light, her eyes dee] blue, varying into gray, ami the chang ing expressions of her earnest, fac? ?vero delightful. "She was pale and tearful. 'II. ha' always been my wish to work for you, she said. I learned that her manage at the Garrick Theater intended to si a h'-r in a play, but she expressed : willingness to come with me if onl; in a bit five lines long. I offered he the leading part of Helen in 'The Musi Master' and she was? delighted, told her to go to Mr. Dean and mak? business arrangements. 'I don't can what salary I get,' she exclaimed. Th only agreement I want is that yoi don't change your mind.' I insisted however, that a contract be signed and when Mr. Dean made it out shi wanted to put her name to it at once but I advised her to take it home an? read it over. She took it away wit! her, but afterward she confessed tha she had stopped in ,a telegraph offic on the way to her hotel and signed it. The first ?May in which Mr. Helase presented Miss Starr, heading her owi company less than six months afte he had seen her in "Gallops," wa "The Rose of the Rancho" in 1007. I was first acted at the Majestic Theatei Boston, and was brought out in Ne\ York at the Belasco Theater. Mi Belasco, who knows his southern Cal ifornia so well, made the stage a de lightful garden as a setting for th charm of the new star. The plot na to do with the tragedy that underlie California history?the taking of th old Spanish homes by land-jumpin Americans. In the title r?le Miss Starr gained immediate fame. Speaking of lier triumph, Mr. Be lasco, who was the least surprised, said: ? ?! was the wealth of imagination 1 detected in Frances Stan's acting the firsl time I saw her that convinced me al once of the possibilities in store .''ot? her it she were properly directed. When she came* undo?* my management ? felt sure I could place her among tin stars if only she would prove I strong enough, physically, for the luggle, i understood much better than she what effort it would cost, what trying experiences were ahead of her. She was a frail girl, with a highly ?-trung, nervous temperament, and I decided that what she i.led most at llu outset was to bo built up in health, ?\s a result of my first interview with her alter her contract had been signed, 1 instructed her to consult a physician and engage a trained nurse. When 1 told her i must insist upon proscribing her diet and regulating her physical exercise, she was inclined at first to ?i* se m t. interference in her personal af lairs. Quite naturally, she had sup ? o.-eii that my sole requirement of her would be to act. Hut when 1 explained ? ! e long rehearsals that are prelimi? nary to my productions and showed i the need of a sound physical nindation for the nervous energy 1 would require her to exert, she began to appreciate better the wisdom ol my suggestions. For many weeks al l asked hi t* to do was to ?'at nutritious food, drink milk, take daily exercises in the open air and go to bed early This was actually Mk* beginning of th< making of A'i s Starr into the splondit ?i i I she ''?'.- f* ncc become." After her long success in "The Ros< of 11 e Rancho" \\ ? is Sta rr was seen it "The Ivi ?' est Way," a study of a vola tile, wavering girl lost in the moras of undecisive character. Next cam her appearance as the girl of dual no turc ?n "The Case of Becky." Jealous was the theme of her next i ???'?. Gt brielle Janelot in "The Secret." Thi was I'??! low ?mI ]>v her assumption of th r?le oJ the child-mother in Edwar Kn block's drnma, "Marie Odile." ',? ?et she bridged the chasm betwec drama and corned*, in "Little Lady i Blue," a comedy <>f Georgian days. Th following season Bhe devoted all of he energy to the war activities of sever: relief associations, returning to th stage again as Sally in Edward Knol lock's " I'igerl Tigei I ' And this season her remarkable pel formalice of the twin heroines in "Due by the fame author, represents a ne stage in the evolution of a star. "Idols of (]\ny^ Combine Unusual Talents in th Field of Pie tu re Ar George Fitzmaurlce, director of sp cial production for Paramount; Ouic Berg?re, scenarist and author, and private life Mrs. Fit ?mail rice; Mi Murray, former "Follies" star, tu David Powell, the polished Fngli.* actor, make a quartet which seems de tined to continue interesting: in drat atie photoplays. The same quart which made "On With the Dance," at "The Right to Love," is responsible f? "Idols of Clay," which opens an e tended engagement at the Criteri? Theater to-day. "Idols of Clay" seems to have d lighted the artistic director for tl reason that it trives him three di tinclly different atmospheres to- repr duce on the screen, the idyllic chai ind langour of the South Sea isles, t bizarre surroundings of London's h hemian set and the murky atmosphe of the underworld 'of the Limehou section of the British capital. Miss Berg?re created a story whi included the three atmospheres, traci the life of a South Sea Island gi whose experiences compass the ? tremes'of the social spheres. Mae Murray, as this picture i cords, is taking one 3tep furtr in the development from a dai ing star to a finished emotioi ? 9-, Marilynn Miller Danced Along Path Leading to "Follies" and Stardom When F. Ziegfeld jr. puts the name if Marilynn Miller in electric lights over the entrance of a Broadway thea? ter m the near future, along with the name of her co-star, Leon Errol, Miss Miller will have accomplished what she set out to do. "I will dance to Broadway on my ; toes and they will put my name up in electric lights," she told her mother at the age of fifteen. For five years Miss ! Miller had tried to gain a New York hearing. She was only ten years old when she made her first unsuccessful 1 attack on Broadway and was rebuffed. She was a member of the Miller j Family, a vaudeville company, which I consi "ted of Miss Miller, her mother i and father and two sisters. The two ', sisters have married and the mother ' and father have retired from the ; stage. Miss Miller now sustains the i family honors alone. She had literally danced her way ; around the world, for she began as a j toe dancer at the age of four, and had ; appeared in France, England, Germany, Spain, Portugal, Australia, Honolulu and Cuba before coming to New York. While she was dancing at the Four Hundred Club in London she tvas noticed by a New York manager and invited to come to New York to appear ; in a revue. She appeared successively j in three revues and then for a brief I period co-starred with Clifton Craw | ford in a musical piece called "Fancy ! Free." She got lier real chance on the path to stardom, however, when she appeared in a production of Ziegfeld's "Follies" I three years ago. She was featured in ! the "Follies" for three seasons, and then Mr. Ziegfeld had the musical play t "Sally of Our Alley" with two star 1 parts prepared for her and Leon Errol. The piece is now in rehearsal under the direction of Edward Royce, who staged the "Follies." In the company besides Miss Miller and Mr. Errol will : be Walter Catlett, the Fairbanks twins l Edythe Baker and Mary Hay. The ; music is by Jerome Kern. While Miss Miller has achieved star ; dorn on Broadway, she is still an inde? fatigable worker. Every week she takes an hour's dancing lesson under the tutelage of Aiexis Kosloff, and she wil celebrate her stellar appearance with a surprise for New York audiences by revealing a soprano voice. She ha? ; been studying voice culture for fiv< i years so that she would be ready. "A toe dancer," said Miss Miller at her home on Madison Avenue, "must b( as thoroughly trained as a champior prizefighter. If I skip a dancing lessor ; for one day I feel it physically. "I am up each morning at 7 and rid? for an hour in the park. Then aftei breakfast and a brief rest I go to i swimming pool, where I swim for ai hour. In the afternoon I walk at leas four miles before I take my dancin?. lesson. "While, I was in Europe this summe: I did not fail to keep up this routin? each day, except, of course, on ship board, and there I walked nearly al the spare time. 1 think a performe; owes it, to her public to keep fit and al ways at her best. 1 have no time fo anything but my work." Scene From "Just Suppose" Patricia Coliinge and Geoffrey Kerr e.ctress, yet her dancing art be? comes one of the most striking pieces of action in "Idols of Clay." Powell has the n>!e of her artist lover. George Pawcett has the part of Faith's father, and Claude King appears as "Binkey," his dissolute partner. Dorothy Cum mings makes the r?le of the society woman an interesting creation, and Richard Wangermann, as the artist's teacher, and Claude King as a society doctor, complete the cast. -? Veiller to Remain With Metro Bayard Veiller has signed a new contract with Metro under which he will remain at the company's West Coast studios in Hollywood as direc? tor of productions. Mr. Veiller is pay? ing a flying visit to New York to con? fer with Richard A. Rowland on the purchase of fresh material to be used for pictures and to visit the theaters to see if any of the current stage suc- j cesses might be suitable for tin? acrtieo. Alan Dinehart, Successful in "The Mirage," Has Not Given Up His Vaudeville Connections The story of Alan Dinehart, now as? sociated with Florence Reed in "The Mirage" at the Times Square Theater, is an interesting leaf in the book of the drama. Although he comes of a theatrical family, being the namesake of his father, who was for many years manager of the old. New York Casino, young Dinehart was educated for the priesthood rather than for the stage. The latter was so much in his blood, however, that he quit the study of divinity. His first theatrical oppor? tunity came when he was still in Mis soula CMont.) University, through Daniel E. Bandman, who was present? ing Shakespeare through the Middle West with a company composed largi ly of college students. Afterward Mr. Dinehart went through the mills of stock, but was wise enough not to re? main there long enough to become me? chanical. Alan Dinehart won his first real rec? ognition in the theater in vaudeville in a one-act play written by him in collaboration with Everett Ruskay. This play was called "The Meanest Man in the World," and was used by Mr. Dinehart as a successful vaudeville vehicle for several seasons. Three years ago he entered into a contract with Augustin Macllugh to enlarge the sketch into a three-act play. According to this contract, Macllugh was to have all the glory of authorship and Dine? hart was to appear as the star of the production when it should be made. As is often the case with things theatrical the partners in this scheme let first one thing and then another inifede their progress. Meanwhile ?rj "The Mirage" ll?rente iieea aim .-?un iJmeuait Pluck, Not Merely Good Looks, Succeeds on Stage, Declares Dorothy Follis Dorothy Follis, the prima donna in Zimbalist's musical comedy, "Honey dew," now at the Casino, gives voice to the following philosophy i f success: '?Some people seem possessed of the idea that they have been particularly selected for or pursued by misfortune. If this question of good or bad luck were deeply analyzed I feel very cer tain the result would show some gov? ernable conditions in both instances. "My limited observation has taught mc that, as far as the stage is con? cerned, success is never an accident, and those who fail to win it have no cause to envy the luck of those who do. Sometimes a pretty face is the key that opens the outer door. That is all it does, because before much of the path is traveled it is found that more than beauty is required to reach the first toll station on a road where the gates are many and the tolls are high. It needs pluck to succeed," .1 i ? Goodman Has Bis: Plans A motion picture, written, directed and produced by one man, is to be re? leased soon. The picture is "Thought? less Women," a drama in six reels, and it is the work of Daniel Carson Good? man, author of "Hagar Revelly," "The Baker" and other stories. Alma Ru? ben trill be the star. ! Dinehart attracted the attention ?f several producers. Arthur Hopkins : presented him as the singing waiter ;n ! "A Very Good Young Man." He ?? ? next engaged for Mr. Hopkin?'s com ? i any in "The Gypsy Trail." He an ? peared later in Edgar Selwyn's nl.? ?"The Crowded Hour.' Mr. DinehS will be starred by the Selwyns in ?"Kd??ar Allan Poe," a play by Sana?! , Shipman and J. B. Rethey, based nt, , the life of the poet. a The contract with Mr. MacHus-h re carding "The Meanest Man in th? World" was one which later caused Mr. Dinehart many a sleepless night. ? for when the opportunity arrived to ; rewrite the sketch -for the legitimate ; stage it was impossible for Mr. Dine hart to fulfill his part of the contract with MacHugh, because he had in the meantirhe signed his contract with the S< ?wyr.s,-and these producers w?->re nor -oing to present "The Meanest Man in the World." So it happened that this play was re? cently presented at ?he Hudson Thea" ; ter with George M. Cohan, instead of \ Alan Dinehart, in the leading role. '? Although now sharin:;? Florence ?need's success in "The Mirage," and j l.e'dmg in thought th- Selwyns' plans j :or his future, Alan Dinehart has by no means released his, grip on vaude? ville. He and Ruskay are credited this season with four successful sketches, which they wrote in collabora tion, just as they originally wrote "The Meanest Man in the World," each one , of which is -));xy:n?' the "big time"? | circuit. They are 'The Highest Bid ! der." 'Cranberries," "Four Thousand j a Year" and "The Modern Simon U I gree." Equity Ball Brings Actors and Managers Very Much Closer The Actors' Equity Association will i hold its annual ball this year at the Hotel Astor on November 20. A com? mittee of more than two hundred rep 1 resentative theatrical folk is in charge of the affair. Advance sales are said to I be very satisfactory-, totaling more than ! $7,000 to date. Many o#the boxes have already been sold, and the committee feels the demand points to a substan? tial increase over the receipts of last year's ball. That Sam Harris, president of the Producing Managers' Association, was the first one to buy a box is taken by some as an indication of the increased entente cordial ?".veer. Equity ana the managers. Others who have re? served boxes are Constance and Norma Talmadge, Hope Hampton, Vivian Mar tin, Florence Reed, Rosetta and Vivian '?uncan, Frank Case, Irving Berlin, Margaret Wycherly, Edmund Br?ete, Ernest Glendmning and Samuel Gold wyn. The exact nature of the entertain? ment features of tin- ball has not yet been decided. Those who attended la?t year will remember the ?rorgeous spec? tacle of the pageant, in which the Bar rymores - Ethel, John and Lionel-par? ticipated. There has been some talk of reviving this, but the executive com? mittee's decision will be made public in a few days. Aside from the announce? ment of "the greatest all-star cast ever assembled" no inkling of the program has been received. The motion picture and chorus sec? tions of Equity arc included in the com? mittee personnel, and, with their own i rganizations, are giving valuable co? operation. Many box parties have been formed by the members of these two : citions, and Equity will be well repre? sented there. Dancing will begin at 11 o'clock and last until the small hotrs. It will b? continuous, save for the twenty minutes of the entertainment, the music being supplied by two orchestras playing al? ternately. Supper will be served from midnight on. Hippodrome's Happy Mon th "Good Time-" at the Uipodrome is having a happy month, as the holidays, football games and other public cele? brations scheduled during November bring additional crowds to the big playhouse. It is estimated that during this month and next approximately 600,000 patrons usually v.sit the Hippo? drome, nearly a quarter of a million being children. A new feature thil week will be "Sing a Serenade," sung by Nanette Flack and chorus and in? troduced in "The Magic Grotto" scene. m Ray in a New Role In "Nineteen and Phyllis" Charle? Ray will appear in up-to-date garb a? a smart young nineteen-year-old. ^eT*T once is "he seen in overalls with a mu* pail in his hand in this new picture.
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