THE MICHIGAN DAILY. .
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("WIM EN "I~LES 3flIS,'ERABLES."
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WHITNEY THEATRE.
Oct.
Oct.
Oct.
Coming Attractions.
22, 23, 24, 25-Les Miserables.
27-Howe's Travel Festival.
28-The Divorce Question.
30, 31-Nov. 1-The Heartbreak-
MAJESTIC THEATRE.
inemacolor Pictures.
atinee Daily-3:00.
very Evening-7:00 to 10:00.
Complete change of- program daily.
LES MISERABLES
etor lHugo's Famous Story Brought
to Life, Will Be Shown at the Whit-
ney Theatre*.
While churches of various denomin-
ions are complaining of empty seats,
e motion pictures are said to be
aying to 20,000 people a day. So
scinating is this modern art that,
en crude productions, at times, have
mmanded popular attention. When
ch a triumph of photography as the
mous moving picture drama, "Les
serables," which comes to the Whit-
y theatre for four days beginning
tober 22, is presented to the public
e result can well be imagined. The
ople of Ann Arbor are to be treated
the first entire dramatized novel
er presented, said to be flawless both
regards the human interest of the
ay, and its artistic perfection.
For weeks all of the theatres in
.ris were searched for those who
uld best portray Victor Hugo's im-
)rtal characters. Finally the ten
ading theatres were drawn upon to
rnish the participiants. Then per-
ssion was gained to stage the play
KINEMACOLOR SCIENCE
Let us imagine ourselves at a flower-
show on a bright sunny day. We have
inspected the out-door exhibits, and
pass towards one of the tents. Notice
how gloomy it appears inside. For
some moments we can distinguish
nothing; but as our eyes become ac-
customed to the dim light everything
becomes reasonably bright. If we
now leave the tent we are temporarily
dazzled by the sunlight, which sems to
be abnormally brilliant. This simple
experiment well illustrates how im-
possible it is for us to observe simul-
taneously, with any degree of comfort
and accuracy, objects in sunlight and
shadow. The reason, as almost every-
one knows,.is due to the fact that the
iris of the eye automatically adapts
itself to the prevailing conditions, ex-
panding when the light is scanty and
contracting as it becomes more in-
tense.
Now anyone who has had any prac-
tical experience with a camera knows
quite well that, by varying the iris
diaphragm of the lens, one can pro-
duce very diverse results, quite apart
from any question of exposure. By
shutting down the aperture the con-
trast between light and shade is in-
creased--and if this be carried to. an
extreme degree we get the objection-
able "soot and white-wash" effect
where all light objects become white
daubs and all shadows jet-black mas-
ses devoid of detail.
The human eye in the presence of
sunlight, autorhatically closing its iris
to protect its retina, becomes identical
with a camera whose lens is stopped
down to a fairly small aperture. Con-
sequently, it sees a rather "contrast-
ing picture" and loses a good deal of
detail in the shadows.
Kinemacolor scores in this matter
FIRST INTER-
NATIONAL TOUR
Of Gertrude Hoff mann-Mime. PoLAire
-Lady Constance Richardson.
Some idea of the detail and red tape,
connected with the successful exploit-
ation of an immense theatrical ven-
ture,. can be obtained from a glance
of the workings of the Gertrude Hoff-
mann-Mme. Polaire-Lady Constance
Richardson vaudeville tour.
To conduct the average one night
stand with a cast composed of moder-
ate priced actors and equipped for
quick money getting, costs from
$1,800 to $2,000 a week. A star at the
head of an attraction doubles its run-
ning expenses. What then of a pro-
duction in which three stars of first
magnitude are associated? in which
three women of stellar rank have been
joined together for touring purposes,
and in which a company of nearly 100
particular
participates.
The combined tour of Gertrude Hoff-
mann, Mme. Polaire, and Lady Con-
stance Stewart Richardson, each in-
ternationally famous as the leading
light in her particular line, is under
the direction of Comstock and Guest.
For the comfort of the three women,
three private cars are provided, each
with a specially selected corps of ser-
vants supplied by the management.
Three prominent advance agents
travel ahead of their stars, and three
business managers look after the in-
dividual wants of the three celebrities.
Two separate sets of stage hands are
required, carpets tomatch the stage
settings, special scenery, built to the
plans of the temperamental women
and lastly, three musical directors,
each with an enviable metropolitan
reputation, and each as temperamental
as his star.
Miss Hoffmann refused vaudeville
contracts calling for the payment of
over $3,000 a week for this tour.
Polaire cancelled European bookings
valued at $90,000, to prepare for her
present tour, and Lady Constance
Stewart-Richardson, lineal descendant
of an English king, broke with her
titled relatives, snubbed the Duke of
Sutherland, and refused fabulous of-
fers to arrange her present vehicle.
She also refused $30,000 for six
matinee performances, offered her by
the English colony of Buenos Ayres,
Argentine, South America. What then
must be the salary list of this trio of
celebrities, with their army of maids,
servants, private chefs, private cars,
special privileges, decorated dressing
rooms, daily flowers, and continual1
wants?
It is estimated by conservative man-
agers that Messrs Comstock and Gest
have obligated themselves for no less
than $16,000 a week. But from the
way the public is responding, the di-
rectors of the tour are well on the way'
to a fortune.
The date for the Hoffmann-Polaire!
-Lady Constance organization at the
Whitney theatre will be announced
later,
One of the most difficult songs ever<
sung by-a light opera star, is the num-
ber entitled "Gianina," which Mile.
Trentini will introduce in "The Fire-
fly." This song, abounding in high
notes and thrills, is rendered with
astonishing ease by "the little devil of
grand opera."
HOWES' TRAVEL
FESTIVAL
The merits of Lyman H. Howe's
Travel Festival which comes to the
Whitn theatre, Monday, October 27,
are so well established that it is not
too much to say that only by means of
this festival can the great majority,
who cannot afford the time and ex-
pense of travel, realize the pleasures
and reap the advantages that are to be
derived from visits to foreign climes
where activities and industries dif-
fer so widely from ours. In fact no
one who wishes to be well informed
and to keep abreast with the world's
progress, can afford to miss Howe's
Travel Festival. The new program to
be presented here, represents more
than ever the combined efforts of Mr.
Howe's staff of photographers who are
forever and incessantly roaming up
and down this old world of ours in
order to photograph whatever incites
interest, wonder, and amusement.
Their vocation is as strange as it is
modern. It requires rare judgment,
steady nerve in moments of danger,
and a fine sense of discrimination. It
is fully as important for them to de-
termine what not to cinematograph-
what to ignore-as it is what to photo-
graph. And in distinguishing the or-
dinary from the extraordinary, Howe's
photographers are constantly govern-
ed not by their own tastes, likes and
dislikes, or by personal bias, or preju-
dice in any sense. They are influenced
solely by a sure knowledge of what is
of real vital interest to the public at
large, not by what appeals to them as
individuals. This principle is, how-
ever, only one of many which explains
why the subjects presented by Mr,
Howe are invariably vibrant with in-
terest.
WHAT IS lKINEMACOLOIU
A reflection of nature-the dream
of ages come true. At last the seem-
ingly impossible has been accomplish-
ed, and motion pictures in true, ac-
curate, and beautiful natural colors
have become a reality. Since the early
days of photography, scientists have
been striving for pictures in natural
colors-and Kinemacolor is doubly
triumphant, for in addition to color,
it perpetuates life and action so that
future generations may enjoy the life
of to-day, or that the whole wide world,
may be brought to us and spread be-
fore our eyes to gaze comfortably up-
on.
Kinemacolor, as-shown at the Ma-
jestic theatre, brings us very close to
this old world of ours. The grass and
the flowers, the hills, and the moun-
tains, the rivers and lakes-the big
out-of-doors-all. are brought before
us. Just as they are-just as the sun'
and wind and weather have painted
them. Nothing escapes these nature
endowed pictures-the shimmer and
sheen of gaudy satins or the soft glowl
of milady's cheek are alike recorded in
all their beauty.
Kinemacolor is one of the great
scientific achievements of the age, and,
like nearly all great things, it is won-
derful yet simple-wonderful in re-
sults but simple as to accomplishment.
By the simple expedient of a revolv-
ing ray filter the film is made to ab-
sorb all the colors of the 'universe, and
when projected on the screen they
show every shade and tint of nature's
colors in all their glory.
Kinemacolor is as varied as it is
wonderful. The world and its people,
its customs, and its beautiful places
have yielded up their charms to the
Kinemacolor experts, a body of men
whose eyes never seem to close, for
they perpetuate every great happen-
ing of the day-sports, wars, celebra-
tions, and state events. Then, too,
they catch the fashions of Paris and
London as they appear. The birds of
the air and the fish of the sea give up
their secrets, and the most inacces-
sible parts of creation can come to us
through the "open sesame" of Kine-
macolor.
Best of all, several dramaic com-
panies of exceptional ability are creat-
ing triumphs every -day in the art of
film-play, and being so realistic and
true to life, there is a consensus of
opinion that they are "Pictorial Pre-
sentation Perfected."
The Moving Picture Presentation Last
Week of "Les Miserables" at the
Academy Theatre, Sagin v, Brought
Forth the Following Commendation
From -Representative Citizens.
Rev. N. S. Bradley: "Victor Hugo's
'Les Miserables,' is, to me, the great-
est dramatic story of modern times,
and it was with considerable hesitancy
that I went to see it visualized by the
cinematograph; the fear was that the
artistic work of the great master might
suffer violence through the picture
process. Such fear was quite ground-
less. The film result is remarkably
satisfactory. Through this modern
wordless art the tremendous story of
Hugo is uttered, with such wealth of
expression, such depth of emotion,
such fidelity of detail, such compre-
hensiveness of design, as to grip and
hold the sympathetic attention from
start to finish. The various charac-
ters seem clothed with flesh and
blood, and the story as a whole be-
comes indeed vital. The portrayal
ought to awaken a fresh interest in
this truly great story."
Principal W. W. Warner: "Every
one familiar with he tremendous
sweep and power of 'Les Miserables'
can not fail to realize what a gigan-
tic undertaking it was to attempt to
portray this great novel in motion
pictures. 'The money and the brains
have been found to do it. I liked
these pictures. They have been ad-
mirably selected, finely executed and
are charmingly presented.
"I hope thousands not now famil-
iar with Victor Hugo's masterpiece,
mray come to read and know it inti-
mately because of the interest awak-
ened by this commendable, valuable,
and thrilling picture presentation of
it."
Mrs. David Daniels, president of the
Saginaw Woman's club: "I have fol-
.lowed with the deepest interest the
movement for better, bigger, nobler
dramatic offerings. I am very glad
to express my belief in the mission of
'Les Miseribles,' as portrayed in mo-
tion drama, and to say that I think it
has achieved the intention of the pro-
ducers; it is clean, finely thought out
dramatically and scenically, and fol-
lows the book with remarkable fidel-
ity."
"TH~lE RED ROSE."
Johlin ' Fisher's Beautifully Costumed
Musical Comedy Is An Early Book-
ing at the Whitney.
John C. Fisher is noted the country
over for the perfection of the details
of the performances under his direc-
tion. No matter how strenous the
series of "one nighters," there is never
so much as a dropped stitch in the
stockings or the least stain on the
hem of a gown, when the curtain rises
upon a "Fisher show." The company
presenting "The Red Rose" for in-
stance has been on the road for towo
seasons, yet every costume is as fresh,
as crisp, and as charming as when this
famous musical comedy began its
career in New -York at the Globe
theatre.
To maintain this immaculate quality
means the expenditure of many thou-
sands of dollars, the exercise of great
ingenuity, and the utmost care. This
season naturally saw the substitution
of an entirely new sartorial equpment,
"THE FIREFLY."
Rudolph Frim's Charming Operetta
Will Be One of Next Month's Attrac.
tions lit the Whitney.
Saucy, tantalizing, tempermental,
little Emma Trentini, formerly a mem-
ber of Oscar Hammerstein's Manhat-
tan Opera Company, will appear at the
Whitney theatre, November 17, in "The
Firefly," a smashing New York suc-
cess from the Casino theatre. In her
new operetta Mle. Trentini, whose
quaint personality seems always to be
at its highest when she is garbed in
boy's clothes, is afforded a double op-
portunity to appear in them.
The "Firefly" tells the story of a
little Italian street singer named
Nina, whose father beats her, after
taking away all the money she earns.
Weary of this treatment, Nina decides
to masquerade as a boy and serve on
a yacht going to Bermuda with a party
of fashionable people, Even in her boy's
clothes, she becomes such a favorite
with the men, that all the women take
a dislike to the little servant "boy,"
and when Bermuda is reached and her
sex discovered, all sorts of punish-
ments are threatened. Finally, how-
ever, Nina succeeds in winning the
love of the hero, who had been en-
gaged previously to the daughter of
the hostess.
But what mitters about a plot when
Mile. Trentini has several good songs
to sing, assisted by a beautiful chorus
of 60.
The music, written by Rudolph
Friml, a Bohemian composer, is far
above the average. Among the suc-
cessful song numbers are: "Love Is
Like a Firefly," "Something," "Gan-
ina," "Tommy Atkins," "Sympathy,"
"A Woman's Smile," "The Beautiful
Ship from Toyland," and "When a
Maid Comes Knocking at Your Heart."
a matter involving a huge sum in it-
self and the labor of a whole staff of
one of the most famous costumers in
Paris. But even new gowns of the
finest silks, satins, and velvets become
quickly mussed and soiled when worn
on the stage, and it is in the care
taken to prevent this damage that Mr.
Fisher so particularly excels.
Every company under the Fisher
banner carries as one of its most im-
portant members a mistress of the
wardrobe. To this personage is di-
rectly entrusted the task of seeing
that no part of any single costume is
ever shown before the public unless it
is in perfect condition. She makes
daily inspections, with the aid of her
assistants, and should she find as much
as a torn bit of lace there is a reckon-
ing and an immediate repair. At least
once each week the entire costume
equipment is sent to the cleaner, a
duplicate set of everything being car-
ried so that this may be done.
See "The Red Rose" today in New
York, or see it in Seattle and one is
absolutely certain to have a view of
the very latest Parisian fashions in
gowns, hats and all the many lesser
details of feminine apparel. To pro-
tect these gowns, many of which cost
from $500 to $600, foot clots of laun-
dered white material are laid in all
the dressing rooms and in strips along
all passage ways clear up to the "en-
trances" of the scenes Even the
benches for the players to sit on, when
not actually playing, are carried es-
pecially and are covered- with linen
over a substantial leather cushion.
"The Red Rose" is an early booking,
at the Whitney theatre.
"Les Miserables," Whitney theatre, October 22-23-24-25.
i
n the very spots where the scenes
re supposed to have been enacted,
nd for months rehearsals were held,
o as to insure a perfect production.
At last the undertaking was com-
lete, and the result is this thrilling
nd uplifting drama which is taking
he theatre-going world by storm from
'aris to San Francisco. Originally
here was such a plethora of material
hat it became necessary to eliminate
>ur reels, leaving a play of two and
ne-half hours. From the moment
heu the curtain rises on the son
tealing bread for his starving mother
> the transformation of this "vener-
ble convict, a soul that had wings,"
here is not a second when the atten-
on of the audience is not rivited on
he scenes.
Reports from other cities speak of
ironged houses and audience thrilled
s they witnessed their beloved
riends of fiction made "breath-
igly real," as the Chicago Post puts
. Owing to the length of the entire
erformance, the first scene will be
hown at'8:15 o'clock in the evening.
he matinees, however, will be at
hree o'clock in order to accomodate
ie children, who are to be excused
om all of the schools at their parents'
equest in order to permit them to be
resent.
The majority of novels dramatized
ar the stage are failures, but Victor
ugo's "Les Miserables" is a shining
xception. Besides the wonderful
loving picture production that is to be
town at the Whitney theatre this
eek, "Les Miserables" has had sev-
ral successful dramatizations. Sev-
by reason of the fact that it employs
lenses of enormous apertures. In
bright sunshine it works with a lens
approximately equivalent in speed to
that of the human eye in a dark room,
and from eight to twelve times quicker
than that employed under the same
conditions by the black-and-white
photographer. The Kinemacolor Com-
pany has a particularly interesting
screen in its laboratory which appears
to the eye to be merely a piece of pure
white glass, and which, placed in front
of the lens, has no obvious effect what-
ever upon the appearance of the image
on the focussing surface. This screen,
however, cuts from the spectrum cer-
tain rays which, although absolutely
invisible to the eye, have a most ener-
getic action upon the photographic
film, and its influence, when used in
conjunction with certain artificial il-
luminants, is most remarkable. But
the Kinemacolor man has no need to
worry about screens. His light-filters,
and the speed with which his pictures
are taken, permit him to use his lens
at its maximum aperture, and as a
result, it is impossible for him to in-
flict upon a long-suffering public, that
eye-worrying atrocity--an "over con-
trasting" picture.
eral years ago Wilton Lackaye appear-
ed in a stage version of Hugo's novel,
and won unstinted praise for his por-
trayal of Jean Valjean. In 1911 James
K. Hackett produced a condensed ver-
sion of "Les Miserables," featuring the
episode between the bishop (E. M.
Holland) and the convict (Mr. Hack-
ett). This playlet was called "The
Bishop's Candlesticks."
"EVERYWOMAN"."
A comparison might be drawn be-
tween Walter Browne's dramatic
spectacle, "Everywoman," which Hen-
ry W. Savage will offer at the Whitney
theatre, November 28 and 29, and Dr.
Samuel Johnson's "Rasselas." "Ras-
selas," it will be remembered, is the
tale of the search of a man for hap-
piness, while "Everywoman" is the
account 'of a young and beautiful wo-
man who sets out from her home in
quest of love. In each one the author
has dealt with an universal quest.
"Rasselas" is a classic which has out-
lived the generation of the author, and
the story so powerfully illustrated in'
"Everywoman" will last as long as the
heart of woman yearns for love.