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November 23, 1913 - Image 3

Resource type:
The Michigan Daily, 1913-11-23

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Whitney Theatre.
Nov. 24-Eva Tanguay and Company.
Nov. 25-Faust (drama).
Nov. 26-The Sins of the Father.-
Nov. 27-Fine Feathers.
Nov. 28-29-Everywoman.
Majestic Theatre.
Nov. 24-25-Satan.
Nov. 26-27-The Explorers.
Nov. 28-29-Cornell-Michigan Football
"Everywoman," Spectacular Drama,
Gives Glimpse of New York's
"Gay White Way."
Those who have been in New York
on New Year's Eve will appreciate
the difficulty that besets the theatri-
cal producer who seeks to give a re-
production of the riot and fanfare
which prevails upon Broadway for
about two hours just as the old year
is limping out and the new year
comes tripping in.
This problem has been successfully
solved by George Marion in Henry W.
Savage's production of the dramatic
spectacle, "Everywoman," which will
be seen at the Whitney theatre, Fri--
day and Saturday, November 28 and
29, with a matinee Saturday at 3:00
o'clock. He has seized a climax in the
carnival spirit for which New York is
famous at this particular time, and
has set it forth in such a manner as
to make the spectator feel that he is
really witnessing life and not its
The scene is of huge proportions.'
Those who are familiar with New
York easily recognize its proximity to
Long Acre Square and the lobster
palaces, just in the section where the
gambler, Rosenthal, paid the forfeit
of his life to hired gunmen. Marion,
with a sure touch, has shown the
flotsam of the street, the denizens of,
the nether world who meet and mix
and mingle in easy confraternity on
that night as on no other night in the
year, with members of the rent-paying
classes. Rubbing elbows on that bois-
terous occasion, meeting each other
with perfect freedom of thought and
action, staid members of society and
thieves, upright citizens and second-
story artists, ministers, mendicants
and murderers, all surge through the
streets intent only upon giving vent to
al the noise in their systems and
cheering one another on their way. It
is the night when the crook escapes'
through the "dead line" and appears

further up Broadway than on any
other night of the year.
Marion had seen all that. Walter
Browne had seen it and felt the dra-
matic appeal. The only question they
considered was whether they would
be able to reproduce it. Walter Bur-
ridge, the scenic artist, was called
into council. Together they visited
the "gay white way," of which Bur-
ridge made sketches. Their fidelity
to life is the marvel of those who have
seen the finished product. Marion re-
hearsed the scene for several weeks.
His handling of the crowds, the life-
like manner in which they come on
and make their exits, is the secret of
the success of this act.
The scene as represented , occurs
in front of Recto's, where society is
supping and making merry. This
function has become astonishingly im-
portant in New York. All the seats at
well-known restaurants and hotels are
engaged for New Year's Eve months
in advance at fabulous prices. In
some of the more luxurious as high
as one hundred dollars a seat is paid,
and there are not sufficient places to
supply the demand. Within a month
of the date not a single place can be
had in a New York or even a Phila-
delphia or Chicago restaurant.
To contrast the life of the rich and
the poor, the good and the bad, the
false and the true, and to show how
on this carnivaldnight all the bar
tier~s are thrown down, this scene was
written by the late Walter Browne.
The central figure is Vice, represented
as an alluring siren, on this occasion
the cynosure of all eyes. She sings,
and everyone upon the scene, fully
one hundred and fifty in all, join in
the refrain. The doors of the restau-
rant open, andl Belgravia comes out to
mingle with Bohemia. Wealth views
it all with a complaisant and self-
satisfied air. His placid counte-
nance gleams, like the protraits
of Mammon by Sir Joshua Reynolds.
Beside him are men and women of his
world, their feast ended, waiting for
their carriages and motor-cars. The
police look curiously on, and even a
Jew peddler, with his tray of knick-
knacks, pauses to look at and admire
But the scene is kaleidoscopic, shift-
ing every moment. The crowd is per-
fectly manipulated. It surges on and
surges off, moved by the slightest ca-
price. The secret of the success of
the scene is apparently the unstudied
manner in which every person of the
stage joins in the roistering. This is
made possible because all the pivots
of the mob are real actors and not
supers who are half-trained and shov-
ed on and off in haphazard style. The
spirit of the carnival season is in ev-
ery point of the representation.
The company, headed by Thais
Magrane, the popular actress, will
consist of over 125 people. A special
symphony orchestra of forty musi-
cians will interpret the incidental

Eva Tanguay, Famous Comedienne,
Rises From Extreme Poverty to
Height of Success.
From extreme poverty to wealth,
from obscurity to world-wide fame,
from $4.00 per week to a salary of
$3,500 per week, that has been the
phenomenal rise of Eva Tanguay, the
cyclonic comedienne, who comes to
the Whitney theatre, Monday, Novem-
ber 24, matinee and night, at the head
of her own vaudeville company.
It has taken Eva Tanguayyears of
hard and conscientious work to ac-
complish all this, and back of her
success lies a story of privation that
few women have ever been called up-
on to undergo. Miss Tanguay -was
born amid conditions that were dis-
couraging, to say the least. Her par-
ents were extremely poor, and to make
matters worse for the little flaxen
haired Eva, her mother was totally
blind, and therefore unable to exert
the same watchful care over her child
that most good mothers do.
There were many times when little
Eva Tanguay went supperless to her
tiny bed. And there were many times
when she had to drink water in lieu
of food. But there was never a com-
plaining word. Day after day the
quiet, mild mannered child would sit
beside her stricken mother, planning
for the future. "Eva, some day you
will get your reward for this," were
the mother's words that have at last
been realized. Today Miss Tanguay
is in a position to enjoy comforts un-
like that of any other artist. And yet
she is just a lonesome, home loving
little woman, with a woman's heart,
but with great ambition.
Eva Tanguay is a woman that few
understand. Only her intimate
friends know the "real" Tanguay.
Upon the stage she displays a person-
ality uncommon and extraordinary.
Irrepressible, devoid of composure,
erratic, vibrant, exotic, she is one of
the most original comediennes that
ever lived. It is personality plus vital-
ity with an exaggerated ego. But in.
this case it is not the ego of indi-
viduality. It is the ego of the public;
reflected within her. It demands that
she shall sing of herself and in a pre-
scribed manner. The public will have
her in no other guise, and she knows,
for she has tried other methods. Eva
Tanguay's success is due to herself
alone, her measure of the public, and1

giving it precisely what it wants. And
it will accept nothing else from her.
For this reason she has received the
highest salary ever paid to a single
vaudeville actress, $3,500 per week,
while at the same time it has earned
for her a reputation that she does not
For there is another side to Eva
Tanguay, a side that is known only
to her intimate friends, and that is
her home life, her benefactions and
her generosities. Her love of home,
its repose, refinement and associa-
tions has become an obsession with
her. The theatregoing public knows
only the Eva Tanguay they see before
the footlights. They know her ec-
centricities and her varying moods.
And at once they imagine her like-
wise in private life.
But the Eva Tanguay off the stage
is a far different woman from the
Eva Tanguay on the stage. When the
last streak of grease paint has been
removed, and the subdued street
clothing replaces the unique, to say
the least, costumes of the stage, Miss
Tanguay becomes a quiet and lovable
woman of every day life. Her one
thought then is for her home. Here
she may be found at all of her leisure'
momients when playing in New York,
doing simple household duties, unos-
tentiously and without display. Thou-
sands there are who, had they Miss
Tanguay's permission, could attest to
her kindliness and generosity, but the
Eva Tanguay off the stage is not a
seeker of publicity. She feels she
has a mission in life-to please-and
this she endeavors to do during her
daily performances. There she
revels in the delight she affords the
public. At home she shuns the lime-
light and is content'with casting a
little sunshine and constantly aiding
the more unfortunate who have not
had the opportunities that fate has so
lavishly bestowed upon her.,
The afternoon performance will be-
gin at 3:00 o'clock.
Predicts Change in Plays.
Ethel Wright, leading lady in "The
Sins of the Father," which will be
presented at the Whitney theatre,
Wednesday, November 26, has some
definite notions about the stage that
she gives in an interesting way.
Miss Wright predicts that next
season will witness a return to the
love story play. "We have had all
the crooks and the problems and
the erotic plays that we can stand,"
she insists. "The love story is the only
story that can 'come back.' Every
revival of note for several years has
been of a play dealing with love as
a theme. The coming generation will
certainly never have an opportunity
to see revivals of plays that are on
the stage at the present time. In fact
inside of a couple of years they will
be forgotten, because the conditions
which they assume to represent will
be of the past."

Ashiton Stevens Calls Her Version of
"Salome" Remarkable.
Eva Tanguay's own version of "Sa-
lome" which will be seen at the Whit-
ney theatre, Monday, November. 24,'
matinee and night, has been more fav-
orably commented upon, perhaps, than
that of any other interpretation of the
weird Biblical romance. When" she
first decided to portray "Salome,"
Miss Tanguay determined to follow
her own idea of originality, and to
have her version unlike that of any
other. And to her credit, it must be
said, critics and public everywhere are
united in admitting that she has ac-
complished what she set out to do.
How the Tanguay version of "Salome"
impressed Ashton Stevens, one of
New York's greatest dramatic critics,
is here set forth:
"At the top of a flight of stairs, set
against a background of shimmering
,moonlit water, Miss Tanguay executes
her initial jump, She is down the
stairs, up the stairs and back again on
the marble floor of the temple before'
the student of anatomy can determine
whether her gleaming torso is sun-
spotted or merely inlaid with a few-
a very few-gems of barbaric hard-
ware, which turns out to be really the
The specially enlarged orchestra
now plays special music of a most per-
suasive lilt, and Miss Tanguay is seen
to kick. This kick movement could
not be more vivid or exciting if Miss:
Tanguay elected to dance .her bare.
feet on a surface of hot brick. So
long as she, continues to kick one can-
not escape the illusion of the "boards"
being burned.
Kicking herself fairly out of kicks,
the special music increasing its pace,
Miss Tanguny is now hardly upon the
floor at all. She is like a live nerve
pendant from a live wire. She seems
to vibrate in midair. The loose pink
gauzes surrounding her arms become
as wings. Her smile blurs dizzily, as
in moving pictures,"
When a New York critic of the sta-;
bility of Mr. Stevens can be sent into
raptures over Miss Tanguay's inter-
pretation of "Salome," it is little won-
der that countless thousands have;
been showering their applause and'
praise upon the magnetic little w-
From chorus girl to leading lady
within two years is the unique record
of Bernice McCabe who plays the
title role in "The Quaker Girl." In,
1911 Miss McCabe was playing in the
chorus of "Miss Jack" at the Herald
Square theatre, New York; now she
is running Victor Morley a race for
stellar honors as a Quaker lassie.

Eugene Walter's Latest1 )
Appear at the Whit
Noveniber 27.



When Eugene Walter wrote
in Full," he startled the critic
exactness, power, and verity of d
it was regarded as a near-great A
ican play. Then followed "The
lest W'ay," remarkable only fo
fidelity. to the truth.
"Fine Feathers," which will b
at the Whtiney theatre, Thanks-
Day, matinee and night, is val
in picturing with frankness
short-sightedness in financial
ters and the casual manner in
wickedness is regarded as long
When the play opens Bob Rey
originally done by Robert Edes
working in a laboratory for -
week. His young and attractive
finds herself unable to live happ
her husband's income, and long
better conditions. At this point
Brand, a contractor and college
of Bob's, makes his appearance
offers Bob a good position and a
of $40,000 if he will certify to
ary Portland cement for use in
regation dam, in place of the
refined cement called for in the
Seeing the , weakness of the
Brand decides to use her as a n
to his selfish ends. He convince
that if Bob refuses his offer hi
be throwing away the chance o
life. Therefore by threatening to
her husband if he will not come
to Brand's way of thinking, she n
Bob a criminal before the law, a
for the sake of a new house anc
clothes. This constitutes the firs
Throughout the rest of the sto:
author has written a documen
the futility of graft as a mea
happiness. The end, though t
is one of the most thrilling mo:
in modern drama. "Fine Feal
joyed an entire season Of succE
business in New York and Chica
A tragic incident in theatrice
was the sudden death of V
Browne, author of "Everywoman
the night his play was given its
performance in New York. Ha
lived, Mr. Browne would have hE
satisfaction of knowing that he
written one of the most succ
plays of the century.


A scene from "Everywoman," showing New Year's Eve on Broadway, New York. Will be shown at the Whitney, November 28-29.

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