r—------>v ■ Lines Shakespere Wrote Modern Actor Receives the Play Just as It Came From the Poet's Pen L i • It has been the complaint of com mentators that actors so mutilate the texts of William Shakespeare's plays in order to satisfy personal vanities liy throwing their own roles into lugher and bolder relief that the Shakespeare of the stage and the Shakespeare of the library are two distinct persons. Through changes in theatrical conditions, not only in the development of more intricate stag ing but in the tastes and temper of the times, it has become necessary to cut Shakespearean dramas to l ring them within the time limit of njodern theater requirements. Even with the nearest possible replicas of Hie Elizabethan stage, it is gravely coubtful if any good purpose would lie served by presenting uncut texts it Shakespeare. At Stratford-on-Avon, ilie Bayreuth of the poet, such a policy prevails. When William Poel gave "Hamlet” in London with a complete text, those who sat through the five and one-half hours of the tragedy were fuin to admit that what was gained was of questionable value because fatigue blurred the apprecia ihn of the later scenes. Students of Shakespeare may de plore elisions of lines or scenes, hut they may well be grateful that the modern actor's approach to the dramatist is deeply reverent com pared to that which motivated play ers of other days, who had so little respect and opinion of tiie man who is the greatest glory of the English speaking races that they bodily threw out major portions of the plays and levvrote much of what was left. The history of one Shakespearean drama is somewhat like that of an other in the theater, but "Romeo and Juliet,” which E. H.' Sothern and Julia Marlowe present at the Bran deis theater three days beginning Thursday night, February 21, with a matinee on Saturday, illustrates the methods of stars of other days in maltreating Shakespeare on the sta%«. The actor who today would change r line of Shakespeare would not be .olerated in the theater. Yet “Romeo and Juliet” as Shakespeare wrote it was absent from the English stage from the time of Betterton in 1662 until 1845, when Charlotte Cushman lestored the original text In public performance. In 1662 Betterton brought out "Romeo and Juliet,” after it had been neglected since the death of Burbage. Borne time later, Davenant produced an adaptation of the tragedy written by James How ard. a brother-in-law to the poet, Dryden. In which a happy ending was given to the story. Betterton acted Mercutlo In this arrangement. In 1680 Thomas Otway wrote “Cains Marius,” which contained much of ' Romeo and Juliet” and this held the stage until Theophilus Cibber, son of Colley, produced his version In 1744 In which Juliet awakened before Romeo's death. The lovers had a fare well scene of supposed great pathos, before Romeo died and Juliet killed herself. This arrangement has been attributed to Garrick, who used It during his lifetime. When Charlotte Cushman acted Romeo to the Juliet of her sister, Susan. Shakespeare's own play was seen in England for the first time in nearly 200 years. English play goers liked the Cushman Romeo, though American critics were not overly kindly to her portrayal of the role. A year late*, in 1846, the faith ful Samuel Phelps brought out Shakespeare’s text, somewhat cut, and from that time with but few exceptions the original tragedy held the stage. One curious exception was seen in 1881 when Ernesto Rossi, the Italian actor, changed the tomb scene to the extent of permitting Romeo to bob up to tell Juliet that he was "dead.” "The Taming of the Shrew," an other play in the Solhern and Mar lowe repertoire, suffered worse treat ment. The Garrick version retained only the scenes between Katharine and Petruchio and this arrangement was always acted until Augustin lialy restored the original farce to the stage. Moving pictures of the funeral of ex President Wilson arrived in Omaha by airplane Saturday and by show time were appearing on the Rialto screen. DON’T WASTE TIME ON PUNK MOVIES We Tell You the Good Pictures $10 a Year TULLAR’S WEEKLY 8411 Hollywood Blvd., Hollywood, Cel. Thomas Meighan in “Pied Piper Malone” AM dressed up and no place to «o? Nay, nay. All set with a story and no author. But such ia not Thomas Meifthan, Tommy for short, and lovable to all the pretty and likable flappers. Oh, boy! It's Tommy, himself. And in "Pled Piper Malone!" Thomas Meighan and a bear of a cast, cast in a story full of a lot of little cute kids and a wonderful story of action and romance and heart in terest in "Pled Piper Malone,” written by the guaranteed author or heart Interest stories. Booth Tarkington. It's all a part of the Strand picture starting next Sunday. Sothern and Marlowe Will Soon Be Here Mr. Sothern and Miss Marlowe will appear at the Brandeis theater three days beginning Thursday night, Feb ruary 21, with a matinee on Satur day. “Romeo and Juliet” will be acted on Thursday night; “Twelfth Night” on Friday night. "The Taming of the Shrew" at the * Saturday matinee and "Hamlet" on Saturday night. The curtain risen at 8 sharp at night and 2 sharp at the matinee. No one will l>e seated thereafter until the intermission. The supporting ^company is of ex ceptional interest, inasmuch as It is i lie only permanent organization in the American theater. In their com pany are Frederick Lewis, Lenore Chippendale, France Bendsten, Al bert S. llowson, V. L Oranville, T. ti. Bailey, Thomas Holding, Vincent Sternroyd, Murray Kinnell, Frank Peters, Florence Fair, Milano Tilden, Everybody’s Favorite, in a Picture Everybody Loves THOMAS MEIGHAN In Tied Piper Malone’ By BOOTH TARKINGTON Meighan pictures never disap point ! And "Pied Piper Ma lone,” Booth Tarkington's first original screen story leads ’em all! STARTING NEXT SUNDAY STARTING NEXT SUNDAY 'yozcr* &/&—aatard*y to tha Riggsat Saturday Attsndanrr in Warha. Hut it waa aapactad -and tha lama para will ha kapt op all waak. ihata a nothing amall-towniah or tmtairal tahhiah about "Silk Storking Ravua." Inataad, it'a a Graat Rig. Gargaoua Ravua, put toKafhar lor tha graat big cittaa it playa. ftom Omaha to Boston. Saa It; 2* * ronlmuoua hours of Suparh Columbia Bui task - and nothing to offrnd. Today's Bargain Matinee at S -* SEATS " 50c TfinAV AFTERNOON ml EVENING lUIIAT AND MONDAY NIGHT MATINEE, 2:30 P. M.—NIGHTS, 8:25 P. M. Amuscmcnt turwiast ® Georgia Smart Set Minstrels -i Two Popular Attractions Combined It SI—PEOPLE—si i tbsifrve/ythe Biwest Best , dnd/fosftxpeosiveMn$trdOn tAataud* '&AMBAL/HA ’ SMSOHS TglUHPH rjk>ai. by OTTO WARBACW 6 OSCAR HAMMEQSTEIN 2* ty'fuiic v HERBERT STOTHACTi ^-VINCENT rouMANTr A REAL MUSICAL PLAY W.tA All ATTRACTI Vt_CHOftUf SPECIAL ORCHESTRA linn B AM BALI N A Hr aM APRIL BLOSSOMS ■■feVVVl WILDFLOWES 10 OTHERS GEMS ' UllIM, Evenings .50c. $1.00. $1.50. $2 00 and $2.50 iHIvCws Special Priced Matinee Saturday, Orchestra, $1.50; ~Balcony, $1.00; Second Balcony, 50c, plus U. S. tax. Monday Evening, February 18th, at 8:15 P. M. THURLOW LIEURANCE & CO. la Rscital—Indian Melodies—Thurlow Insurance, Composer-Pianist Edna Woolsy Ltsurancs, Soprano—George B. Tack, Flutist Ticket* on Sals Tomorrow, 10 A. M.—Prices 50c, $1.00, $1 SO BRMDEIS FEB.—19—20 TUES. AND WED. NIGHTS ONLY Entire Change «f Program Each Performance "Novelty, vigor, color and life without a doll moment.”—New York World. Prices $1.00. $1.50, $2.00. $2.50. Plus Ta* THE SOTHEHH-MARLOWE SEASOH Edward II. Scthern and Julia Marlow*. th* foremost classical stara an th* English speaking stags, will appear at tko Brandeia Theater three days. beginning Thursday. February 21. TO OBTAIH TICKETS HOW (ill In form b*law with numh#i of dnir«4; irnd Mlf-oddrnMtl. •t*mp#d #nv#lop# with prnprt romitttnct. pavabl# to th# Brand#*# Th#at#r. Omaha. N#h. Do not writ# a l#tt#r. ^ ou will h# giv#n th# boat *aat# avaiUbt#. „ , , . T„ (Vcb. r h»l B*l * 2d B»). Frrcea Include Tas S3SO U ?l »r 70 1 St.to Thursday, Fob. 21 ROMEO AND JULIET I { } > itiar . F#b ’ 1WEIFTH NIGHT