New York Theaters By 1'ERCY HAMMOND. ■ CNew York, November 3. 5\\ YORK did the best It could ast Monday evening to mitigate he brooding, abiding melancholy of Eleanora Duse. Everyone was out to welcome her except the brass band —police reserves, the cognoscenti, the Illuminati, the drama lovers, the sop histicates. Little Italy and Out Set. With them they brought $30,000 for one performance of Ibsen’s ‘‘The Lady From' the Sea." and a really line attitude of hospitality and appre ciation. They did not in their mo , ments of enthusiasm cry “Bravo!” in stead of “Brava!” as was done recent ly in London, and there was every reason for you to be proud of the manner in which your delegation re ceived the Lady of the Beautiful 1 lands. -- I suspect that If anything In the way of a New York audience could i heer Duse out of her low spirits this would be It. And I believe the.pathe tic little woman had what was, for her, a good time. She answered in numerable curtain calls with a glint of pleasure in her “sad and eager" eyes and she is said to have admit ted to Mr. Gest, after it was over that it was “wonderful.” • • • Concerning the performance itself you will have to go to others for the loud and understanding hallelujahs. 1 was, apparently, the only person in the Metropolitan Opera house on Mon day night who did not know Italian; ,■ ml several of my most intimate ac ( imintances surprised me with their sudden familiarity with that tongue. Since I regard it as impossible to rave honestly about acting in a language of which I am ignorant, I resign such raptures to those more auspiciously c - nipped. Briefly—the Duse entered the vast stage of the Metropolitan a little, 'ovely, gray old lady in a shawl. You said to yourself: Is this fragile. Itilian and haggard figure supposed to he Ibsen's strong-swimming El Vds? Is she the sea-haunted Scan ...riavian. the gasping fish out of i water, the mermaid longing to ride to freedom and the unknown upon a dolphin's back? Can this fireside crea ture be the comparatively youthful woman for whom In the third act the mysterious and romantic. young stranger will come and subpoena to a life upon the ocean wave? Ere you can answer “no*' you discover that it does not matter. It is Duse who concerns you, not the morbid Mrs. Wangel. You do not care what she is playing—Little Eva or the Third Witch in “Macbeth”—she is Duse. Whethef it is art or hypnosis that puts you in this mood of en chantment I do not know. It Is per haps, as Hichard Carle used to say, “that something.” At any rate, she tDrilled a New York multitude at the Metropolitan in Ibsen's dullest alle gory—the worst of the fjord stories, ns a London critic called it. She was more of a miracle as the Lady From the Chimney Corner than she would have been as the Lady From the Sea Why, It may be asked, is Duse the sad. the acclaimed and worshiped high priestess of the drama? Why does she so seldom soften the rigors of the tragic mask as seen upon the Broadway drop curtain and pros ceniums—the knitted brow, the mouth drawn down at its corners? Sole and unparalleled in her art, now that the fabulous and businesslike Bernhardt has vanished, no one In the theuter Js idolized so deferentially. She will play a young woman, as in "The Lady From the Sea.” in gray hair, disdaining the legitimate illu sion of a wig; and she will answer as many curtain calls as you will give her, though curtain calls are said to be as spurious a thing upon the stage as false hair. It seems to me that If it is right for Duse to play Ellida without a wig it would have been right for Bernhardt to act Camile without a wooden leg. Many drama lovers blame the heartless D'Annun zio for Duse's dejections. You will find, however, in Arthur Symons' profound study of her that such is not the case. “She loves art so devotedly,” says Mr. Symons, “that she hates the mockery of her own art. She pulls up all the rags of her own soul and flings them in the face of the people in a contemptuous rage.” She hopes that some one in the audience will rise from his seat and, leaping Indig nantly upon the stage, will cry: “Enough of this!” and stop the per formance. Duse once told Mr. Symons that to save the theater the theater must be destroyed. “The ac tors and the actresses." said she, “must all die of the plague. They poison the air, they make art Impos sible. It Is not drama they play, but pieces for the theater. The drama dies of stalls and boxes and evening dress and of the people who come to digest their dinners.” . . . This seems to absolve the flighty Oabrlelle from responsibility in the matter. Nevertheless, I cannot believe that Duse meant to blame her abhorrenees on such admirable stalls and boxes and evening dress and people digest ing their dinners as paid to her art the other night at the Metropolitan the tribute of $30,000 and their ap plause. This correspondent admits that he enjoys fine acting In English more than he does great acting In Italian, for the naive and yokel reason that he knows what It Is talking about. He ran recommend, therefore, with few reservations. Sir John Martln-Har vey’s presentation of the "Oedipus Hex" of Sophocles when and if it trachea you or you reach It. In case jou are not immune to the catharsis of Oreek itragedy an<^ If your aoul needs purging by pity and terror, Sir John, Sophoclea, Prof. Oilbert Munn end the “Oedipus Rex” are prescribed by this apothecary. It Is a moving and a majestic ceremonial, though desecrated sometimes, one thinks, by the expedient stagecraft of the opu lent and spectacular Herr Max Rein hardt. Sir John as the parricidal. Incestuous wnd Innocent Theban king la a stately figure to look upon. He has tho tragic mien and the regal hearing of Oedipus, but his high pitched and petulant voice detracts a little from the essential brooding of the tragedy. . . . There are hun dreds of meek New York eu|wrs clamoring mildly down the aisles of tl,e Century theater, en route to Oedipus' grim palace, crying for help; ami they seem to me to be bringing I roadway to Athens. . . . Miss Miriam I .ewes plays Joeaata, the wife ,'nd llv mother of the king, musically ,,‘nd tragically, hut In appearance as if she were his granddaughter. The uedlpus la not, of cour**, a I "" r Souif Coiteh) AT TH» OPPKCUM vdda. AT TMI J N«W IMPRVII Gertrude $eel AT THf GAYS TV wcrld AT TMtf * 0RANOCI9 c/co// Waltk. AT TMf branoeis perfect thing, either in itself or in its acting, but it is a thing to be seen in case you do not like "Kiki” or the shows at the Winter Garden. “The Swan,” by Ferenc Molnar, is as much of a brilliant "hit" as his "Baunzi” was a dire failure. It is "The Prisoner of Zenda" told with a shrewd twinkle; and in it Miss Eva Be Gallienne as a middle European princess, Mr. Philip Merrivale as a prince and Mr. Basil Rathbone as a tutor at the palace are amusingly employed. . . . "Scaramouche," on the other hand, is a serious sword and cloak drama of the French revo lution, aided by Sidney Blackmer's quiet heroics and the graceful writ ing of Mr. Sabatini, its author. More will be told about these plays and others when this delegate has a chance to get his breath. Gayety Burlesque “Queens of Paris" There will be two acts and 12 scenes embodied in this week’s enter tainment at the Gayety theater, pre sented by "Queens of Paris," at the two daily performances that rule. There will be novelties galore in the incident, burlesque bits that con tribute to a revue type of diversion, featuring I. B. Hamp 'as chief come dian. The laughs will be fostered by Bew Denney, Arthur Young and Jack Callahan. Ann Myers, "Blues;” Ger tie Beck and Rosa Rosalina will be leading ladies in a company of more than 25 charmers. The Frazier Trio, a group of Hawaiian harmonists, and the Six Rockets, Euriqtean musical artists, now making their first tour of America, will be featured vaude ville attractions with "Queens of Paris.” Indies' matinee at 2:15 dally, starting tomorrow. Today's matinee starts at 3. Farewell Week Starting TODAY The Favorite Comedian BILLY MAINE and Aaiociate Player* in the Farce of Countie** Laugh* “Fifty-Fifty” Billy and Maria Maine as they appear in the characterisations which made them famous. ON THE SCREEN .First Run MARY MILES MINTER In the Great Adventure Romance “THE DRUMS OF FATE” Starting NEXT SUNDAY The Renowned Cort Theater, New York Success “FLO-FLO” with ' PEGGY MAYO And a Perfect Cast The first of a series of proven successes never before of fered at popular prices. 1 What the Theaters Offer { ( ^jCARAMOUCHE,” the greatest ^^motion picture spectacle, will be e>—'the attraction at the Brandels for one week only, starting tonight, with daily matinee and evening per formances thereafter. "Scaramouche” is a romantic story adapted from Rafael Sabatini’s widely read novel of the same name. The central fig ure of the story is Andre-Louls Mo reuu, a young Frenchman who falls in love with the aristocratic beauty, Aline de Kercadiou. His dearest friend Is killed in a brutal unfair duel with the powerful Marquis de La Tour d'Azyr, who is a power at court, and W'ho is also a suitor for the hand of Aline. Andre swears ven geance for the murder of his friend and the story is taken up with his adventures in the pursuit of this ob ject and his fight in behalf of the common people against the autocratic tyrannies of the ruling classes. Thus the French revolution is interpolated in the story which is action from be ginning to end with thrills galore and an abundance of tense dramatic suspense. Another important feature is the music setting which will be interpolated by a special orchestra under the direction of Mr. E. Villani. Tommy Gibbons, one of the most popular men who ever laced on a glove, is the headline feature In the current six-act vaudeville and photo play bill at the World theater. Gib bons, appearing in person, offers an interesting and entertaining atheltio exhibition. Going through some of the routine stuff he uses for every day training, he does a little shadow boxing and concludes his perform ance with a snappy three-round match with big Bill Hart his spar ring partner. Eddie Kane, Gibbons’ manager, acts as announcer. Noodles Fagan, rotund comedian, comes back with new comedy ideas, songs and patter. Noodles is assisted in his funmaking by Elsie. In "Nonsensical Nonsense,” Weber and Elliott bring comedy song and dialogue. "Wedded Bliss” te the title of the oddity pre sented by Roy Gordon and Nell Heuly in which the talk and melodics have to do with a newly married couple. Wilfred Dubois calls himself tlie "Jongleur Distingue” and offers what is perhaps the most finished juggling novelty in the varieties. Dancing of several different varieties ranging from buck and wing, to jazz bud Apache i.s presented by the three Stylish Steppers. "In the Old Neighborhood” is giv>en a eomedy presentation upon the big World organ by Arthur Hays. Ed ward (Hoot) Gibson, who has estab lished himself as a star of the first magnitude with World audiences, is seen in his latest screen romance "The Hamblin’ Kid,” in which laugh ter is intermingled with thrills. Louise Lovely, remembered for tier work on the screen in plays as "The Old Nest,” "The Gift Girl,” 'Sirens of the Sea,” "Shattered Idols" and othtr noteworthy productions, will be seen at the Orpheurn this week, eorn mencing with today's matinee, in a new and unique presentation, “A Day at the Studio,” picturing the interesting methods employed in pro ducing pictures. Miss Lovely’s en tourage includes Wilton Welch, who is featured in Miss Lovely's support; a director, a camera man, and an eleetrician, together with special set tings and lights—in fact everything needed in a studio. Miss Lovely will select local young women and men, as well as chil dren, from the audience to play roles in the picture, which will he shown in its entirety at the Orpheurn next week. The screen actress will uso children at the matinees and young men and young women at the eve ning performance. Miss Lovely will personally meet all the candidates at noon today in the lobby of the Or pheum to assign them roles and sc forth. An exceptionally good Mil is booked this week. The Four Mortons, who have the distinction of being the best known family in vaudeville, appear in a skit entitled. "Wearin’ of the lirwn. The presence of Princess Kadjah ott the bill gives it a touch of royalty, for the celebrated continen tal dancer, Is a descendant of King Tutankhamen. Others who will entertain this week are Jim and Register a t the Orpheum NOW for a Trial Screen ing. This Week, Commencing With Today 's Matinee Nallm ^ Slskt 2:20 Orpkrm Orehratra Concert 8:20 2:80 Acoop'n Kubleo—Toplrn af the Day 8:30 ^ THREE LORDONS *** In ' PIT** *»« JIM AND BETTY MORGAN "'»*« “SOXGS BOMKWHAT DIFFEHRM”__ =’>• MINSTREL MON ARCH'S >r» la • Ualq«r Offrrlag mt Mlastrrby »* DOOLEY & MORTON Kamoai Babies From Famous Families -LOUISE LOVELY - The Enaolil Motion I’lrlure and Mane Star. Supported Bp Wilton Weleh, la a “DAT AT THE STI DIO” A Noprlty Molina l*letnre Hrodnrtlon Aet. “THE FOUR MORTONS Sana, Klttp. Joe. With Clara Hame Annin, la “WEAltlNU Ol'T THE CHEFS" 1*38 t rlchrnted Continental Exponent of T> rpolrhorr 10:38 PRINCESS RADJArt ' In Her rnmoitn “DANCE OK CI.KOHATBA" A Hautomlmle Hartrnpal of the Traurdp of the Immortal Harm. |7i0 Hnthe Sem " lOt.’itl NtITK_Minn l.opelp mill direct serneo, mlth her omn rnmernman and aetllnpa, to produce a real mode of lornl people arrured from tho andlracr at each performanee. I hlldrea mill he photonraphra at raeh matinee, paling men and nomen at eperp rcrnlng per formnaee. The pletnre In Ita entirety mill hr ohamn on the arrern at the Orphenm the fallomlag meek. Betty Morgan in "Songs Somewhat Different;’’ the Minstrel Monarehs and Three Lordons in "Lights Out.” Billy Maine and his associate play ers enter into their third and final week at the New Empress theater to day. Mr. Maine and company are to I return to Omaha in 1924 for an ex tended spring and summer run. The show for this week is entitled “Fifty Fifty," and is o^c long round of laughs, and those who want to see Billy at his best will not miss this final bill. Marie Majjy> makes an Ideal foil for (Maine's comedy and the pair are sure to keep the audience in a constant uproar. Other members' of the cast are cleverly cast and the show promises to attract record breaking audiences. Among the song numbers introduced are “Mad House Bag," “Am I to Blame," "Rose of Picardy,” “Strutting Jim" and "One Horse Town." Pearl and Gilbert Macks, known in musical comedy cir cles as the Harmony Marks, are new comers to the show this week and will be seen to advantage. The principal picture feature pre sents Mary Miles Minter in a feraphic story of adventure called “The Drums of Fate.” Starting next Sunday the New Em press offers the Graves Brothers ! players featuring Peggy Mayo and a perfect cast. In the first of a series of standard New York comedy suc cesses. The opening bill Is "Flo Flo," which originally ran at the Cort the ater. New York, for eight months. It is a farcial musical comedy In five scenes. Silvio Hein, the composer, never wrote more melodious airs than "Paradise of I -ove," "Goodbye to Happy Days" and "The Small Town Girl," three of the outstanding hits if "Flo Flo." John Golden Is sponsor for "The First Year" scheduled for its first presentation here at the Rrandels l heater November 11 to IT. For two years "The First Year" ran along in Now York, admired and extolled be yond measure by audiences that filled the theater to overflowing and kept the newspaper critics busy trying to find adjectives superlative enough to do Justice to such a wholly deserving play. Not only does the play com mand general reverence, hut compli ment8 galore are showered upon Mr. Golden for having a thoroughly effi cient cast—a feature which always had his best consideration in all other companies he has organized. Striking costumes, attractive Been ery and a bevy of beautiful women mark the performance of “Venus," which is coming to the Brandeis theater November 23 and 24. Nyra Brown takes the leading part in the production. Johnnie Getz, a comed ian of the first rank, competes with Miss Brown in "getting the lines over” and In making the show a suc cess. Augustus Pitou, Inc., will present May Robson in “The Rejuvenation of Aunt Mary" at the Brandeis theater for her usual Thanksgiving week's engagement, starting Monday eve ning, November 26. Miss Robson is seen to best advantage in this char acter. as she has so many different emotions to portray, and when she realizes that the "city life" has gotten into her blood and she decides to sell her country home and go to New York to live—the climax is a scream. "Blossom Time" will be presented hy the Messrs. Shubert at the Bran deis theater, December 2 to 5. "Blossom Time" Is based on inci dents in the life of Franz Schubert, the famous Viennese composer. The book and lyrics are by Dorothy Don nelly, adapted from the original of A M. Willner and H. Reichert. The music is from melodies of Franz Schu bert and H. Berte, adapted by Sig mund Romberg. It was staged by J. C. Huffman, under the personal di rection of J. J. Shubert. The Messrs. Shubert have brought together an exceptional singing and acting company to present "Blossom Time," which includes Bertram Pea cock, Zoe Barnett, Howard Marsh, Edith Thayer, William' Danforth. Vvan Servais, Sonia Is>yton, Marian Abel, R. Paton Gibbs, Paul Ker, Em mie Niclas, Peggie O'Donnell. Eric Titus, Townsend Ahearn, Howard Samples, and beautiful bevies of sing ing girls, flower girls, dancing girls, peasants and others. "Three o'clock In the Horning'' 'em star Constance Binney. The Tuesday Musical Club Presents Sigrid Onegin Contralto Metropolitan Opera Company. Good reserved irtl» still available. Tickets—$1.00, $1.50 and $2.00 *