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OR those good fireside friends
—old friends—the real kind. Old reminiscences,
a good story now and then, good cigars, and a bottle of
Bodweiser
One of America’s Institutions
The Anheuser-Busch plant covers today
more than 142 acres —equal to 70 city
blocks. It gives steady employment to
6,000 people, and to 1,500 more in its
branches.
Every process, every room, is immaculate.
Every bottle is Pasteurized and inspected.
This Quality-Plant, started nearly 50 years
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The hundreds of visitors who go through
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Anheuser-Busch, St. Louis
The Largest Plant of Its Kind
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Some of the Principal
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iifiE 3fia a
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ATLANTA, GA
Distributor
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lARST'S «T XDAY AMERICAN. ATLANTA. 0A.. firXDAY, SEPTEMB
STELLAR ATTRACTIONS ARC MARCHING ON! ATLANTA
September to See Signs of Greatest Theatrical Stars Blazing From Fronts of Local Playhouses
K
Anna Held, Robin Hood, A1 Field and Vaude
ville Headliners Promised as Show
Diet for City.
Anna Hold, who will come to Atlanta in September with her
Jubilee Company under the direction of John Cort. Her appear
ance promises to be one of the theatrical events of the season.
By TARLETON COLLIER.
r j HIE local theatrical season, to all ihtents and purposes, is
t jockeying about for a start in a manner rather tantalizing
to wistful showgoers who are pining for the coming of win
ter '.'legit.” Still, there is promise enough of good things ahead
^o reward the patient persons.
The Atlanta, for instance, will be dark all this week, but not
discouraginglv dark. You will begin to see out front the bills for
Anna Held, Little Boy Blue, Robin Hood and the Field Minstrels,
all of which Manager George announces will come to the city
sometime in September. And so the Atlanta Theater, even with 1
the lights out this week, is not so dreary a spectacle.
As for the week’s offering, there will be at the Lyric a straight
drama of sufficient strength to please almost any one. With Kstha
Williams in ‘‘A Man’s Game,” there should be enough worthy en
tertainment. Thjs is not the first season of the play ncr of the
wife at a tim** when his for
tunes a tv lowest, when he is merely a
lab >rer without promi; . He has a
little daughter, and for h»r sake he
goes West and builds a fortune.
Years after he is wealthy. A real
love has come to him for the tine
woman who has reared his daughter,
but while he Is glorying in his love,
b.-M k comes his wife of fifteen years
before, an abandoned, dissolute, con
scienceless woman. She hears that
he is wealthy, and
herself on him.
The “Man’s Game'
the happiness of the
loves. The man in
make this fight, trying
“The right” Reaches Limit
• Of Audacity on the Stage
comes to saddle
is the fight to
woman a man
the play must
keep from
his carefully reared daughter the
knowledge that this old slattern is
her mother, and from the woman he
Mme. Besson
who will be
one of (he
headliners
at the
Forsvth
week.
In the end the dissolute wife show’s
t human, womanly heart. The sight
of her own daughter purifies her, and
she goes away.
The play was successful last season,
and the same cast will appear this
year.
■ A Man’s Game” will lie at the
Lyric all the week, with matinees
Tuesday, Thursday and Saturday.
iShe iippeiirs in
a stirringly
dramatic
playlet.
this
“The Mmi of Mystery"
Offered tit the Bijou
Melodrama will always have its ap
peal with the actual flash of pistols
and knives, and the actual sound of
love, making and heroic defiance, that
will hardly be supplanted by any-
tiling. not even the “movies,” in spite
of the threat that is heard every
where. It is just these thrills that
the Bijou hopes to furnish this next
week, when the Jewell Kelley Com
pany will produce “The Man of Mys
tery.” a sensational melodrama, writ
ten by Mark Swan.
The playwright is author also of
| The Silver Dagger,’ “At the Risk of
j His Life,” ‘‘The t’nwritten Law” and
I others as well of the same blood -
I curdling tone. Successful plays of
j their kind they are. all of them. It is
announced that Manager Kelley has
I incurred considerable expense in ob
taining permission to produce “The
I Man of Mystery.”
The story of the play is that of a
■ gang in the underworld of New York,
! whose meeting place is the Devil’s
Kitchen. The leader is a man of hyp-
1 notic power, of no scruples nor con
science.
And so the ground is laid for per
formances full of shudders, with lives
in danger, murders done, robberies
; rnaefe, thieves brawling in their den
I and over theif gambling table.
Jewell Kelley will play the part of
I Richard Glenwood, the leader of the
j gang. Claire Summers will appear
; us Kate Burke, daughter of Old
! Mother Meg, who is mistress of the
Devil's Kitchen. Early Rigley will
be Ned Keene, a detective, and Eddie
; Black will he in his element in the
I pari of Noah, a sleepy servant.
Matinees will be given every aft-
j emoon at the Bijou at 2:3a o’clock,
i with performances each night at 8:30.
Starr Notes
Nnvikoff
panion.. wh
f London,
m
Vast, but, there is enough of vigor in its lines and in Miss Williams
interpretation to insure its life for some time.
At the Forsyth the usual bill of Keith vaudeville is offered.'
with the promise of attractiveness that always goes with it.
The Jewell Kelley Stock Company will enter the fourth week
of its engagement at the Bijou theater, and promise of a melo
drama as full of thrills and laughs as the most desirable melodrama
should be, is held out by the Bijou management.
Kinemacolor will continue its course at the Grand, with a set j
of pictures that are said to be up to the usual standard.
One of the gripping scenes from “A Mail’s Game.” which will be seen at the Lyric
A/ Field\ Arm a Held, Little Hoy Hi tie
And Robin Hood Coining to The Atlanta
The m xt offering at the Atlanta is the A1 G. Field minstrels,!
coming September 2f>, 26 and 27. With A1 G. Field will come an.
old and consistent favorite.
Following the Field minstrels, the Atlanta will offer its first
real big novelty in the Anna Held Jubilee organization, which
John Cort lias booked for a matinee and night, Monday, Septem-1
her 2J.
Miss Held has just returned from Europe after a stay of
three years, and has returned as piquant as ever, slimmer than j
ever, spirituelle and altogether the A^pia Held of earlier days.
Her company is said to be the biggest on the road this season.
After Miss Held two other notable attractions will come the)
same week. Henry W. Savage offers Little Boy Blue, Wednesday
and Thursday, October 1 and 2, in which Otis Harlan is being fea
tured, following which, October 3 and 4, will come the DeKoven
local house is one of the chain of vaudeville theaters known as the
Keith circuit, around which travel features that appear in the
metropolitan variety houses. All this is announced b; the man
agement by way of prefacing the promise of good shows during the
season.
The Big City Four, young men who can sing, will he one of
the features of this week’s bill at the vaudeville house. This quar-
tc tie has come before to Atlanta, achieving before this consider
able of popularity. Featured equally with the singers is the ae-
tress, Mme. Besson, whose company will produce a one art play,
‘‘The Woman Who Knew.” The Besson sketch is dramatic.
There will be a comedy sketch as well, offered by Tom Kvle
and company. There will also be a dancing act. presented by The
Metropolitan Dancers, and a number in which there will be much
varied entertainment offered by The Marvellous Grahams.
Two other acts have been billed, to be announced later.
* whs trained in the Russian iin-
ri.il Balia* School anr* at the as**
LO was advanced to the grade of
emier danseur ciassique of the*
>yal Opera in Moscow, the highest
nk attainable by a male dancer.
is a. handsome chap and his clev-
ness as a dancer gains in effect
his unusual ability as a panto-
irnist. Novikoff will be Pavlowa’s
ncing companion when she i*p pears
Atlanta this season.
e is to be a Erohman
n. Her husband, Wil
iam A. Brady, and Charles Frohman
lave reached an agreement by which
j Miss George will appear in J. M.
Barrie’s 50-minute play called “Half
an Hour.” Blanche Bates was origi
nally cast for the part, but owing to
Opera Company in their revival of Robin Hood.
Big Ciiv Four and Dramatic Playlet To Be
Features of Vaudeville Bill at The Forsyth
ie Forsyth management, after operating during a straitened
summer season when a great army of the vaudeville stars
iu< r , promises much entertainment now the regular
season has opened. The theater’s announcement
are rest-
theatrical
Drama of Intense Realism Will Be Seen
At Lyric in \1 Man's Came' This Week
ftilAWM that tit**
Realism on the stage is an uneertain quantity. What passes
for realism may be a mere brutal representation of something that
could have been drawn more beautiful. Or it may not be realism
at all so much as trite old melodrama. Or the best that is known
as realism may be just something ripped from real life.
It is this that is embodied in the play ' A Man’s Game,” that
will be presented at the Lyric Theater this week. Kstha Williams
depicts the commonest type of the streets with a fidelity that is re
markable. It is at such times that the force of “realism” strikes
you.
• The story is that of a vigorous man deserted by a pleasure-
illness she will not be able to play
until November, when Mr. Frohman
will have another role for her.
Miss Alice Brady, daughter of Mr.
William A. Brady, whose rise from
small dramatic roieg to parts of Im
portance has been sudden, will have
her first chance at a leading role
when Mr. Philip Bartholomae pro
flut es a play by Mr. Austin Ada ns
called “The Bird Cage.” Miss Brady
at pregent is appearing in Mr. Owen
Davis’ “The Family Cupboard,” and
her performance is vne of the bright
spots in that drama. Last season she
played in “Little Women” and before
that in Gilbert Sullivan revivals.
Mr. James Forbes has engaged Miss
Olive May for the leading role in
“Shadowed,” a new play by Messrs.
Di«»n Clayton c<hrop and Cosmo
Gordon Lennox.
By ALAN DALE.
NEW YORK. Sept,
that man!” cried the
“madame” of Pearl
“house,” pointipg to a gray-haired
Senator who stood dismayed in hor
ror. “Well, he paid me $500 to find
another man’s daughter in that
room.’ and — he — has — found his
own.”
Even a sophisticated New York
audience gasped at the raw bru
tality of the second act of Bayard
Velller's play, “The Fight,” at the
Hudson Theater and seemed
to wonder what the New York
stage was coming to. For. once
again there was the red-tinted hor
ror of the disorderly house, the
garish women, the seared white-
slaver and the malodoriflc patrons.
But eyen this vivid outfit, that
we may find at another theater,
gave us halt, as the real signifi
cance of the second act’s situation
forced itself upon us. The gray-
haired father was at that place for
purposes that were not allowed to
remain unmentioned, only. a.s he
opened the door, to discover that
the young girl he was buying was
his own daughter!
So I remark feebly, that if New
York can stand for that well, let
’em all come! For frankness of
treatment Mr. Veiller’s “play” takes
every palm. Each spade is called
by its name in n magnifying glass.
It is a long time since anything
quite so ugly and so consanguine-
ously daring has been attempted.
Even the “comedy" was not allowed
to escape the fate of the white-
slavers. It was held in this play.
the nicest little girl in the
quoth the procuress of one
Inmates. “A perfect little
Perhaps we were glad of a
"The Fight” concerns the effort
of a very highfalutinly noble lady
to run for “Mayor” and purify a
small town in Colorado. What she
doesn't do, what she isn’t up
against, whom she doesn’t foil and
how she doesn't quake are vivid
queries in the four acts. The poli
ticians fight her, as she stirs up the
ugly pool of white slavery. They
conspire to cause a run on her
bank, and she fights them with
their checks, which are forgeries,
and with mortgages that she can
foreclose.
Not Lydia Pinkham in all her
greatness ever held a candle
Jane Thomas, heroine of “The
Fight,” as, alone in the center of
the stage, she sees her dooty and
does it. Alone she goes to the dis
orderly resort to find the satyric
Senator discovering his own daugh
ter, and to find that the tables are
turned on her - that she is accused
of luring the girl to the resort—
that she is suspected of being there
improperly.
t’ertalnly “The Fight” lg a
scorcher, and there is no denying
its excitement, its thrill and its ap
peal. It is horrible ugly—it is
everything that any purist could call
it—but it is a play. It does bite;
it does hit; it does sear; it does
get there, and, with all its faults—
many and patent—it is ingenious,
and Mr. Bayard Wilier has made
his own “Within the Law” look like
a ha’porth of coppers.
The scene In the second act,
where the screaming girl is pushed
by the “madame” into a room, lacks
stage management. You hear her
yelling quite easily, yet apparently
she can not hear the excited con
versation that should reach her ears
as easily as her screams reach ours.
This is n very serious defect—even
an unpardonably stupid one—and a
stage manager should be called in
at once to rectify an error that
really robs the excitement of its
sting. This ugly scene at least
should not awaken criticism. It
should he flawless, if—anything!
The question as to whether these
"resorts” need be staged—whether
the youth of U. S. A. (which, ac
cording to Mr Veiller, is U. S. A.’s
finest investment) need be famil
iarized so frequently with the locale
of the ‘social evil,” can not be dis
cussed in these hasty lines. That
this second act, however, was not
dragged in just for its own nasty
sake must be urged in justice to
Veiller. Throughout a horrific
M i
Play this author does seem to be
sincere. D was ;iii done in appar
ent zeal, and the question as to
the necessity of it all must be left
for further notice.
Miss Margaret Wycherley played
Jane Thomas adorably—with grace,
charm, excellent femininity, and
even beauty. It was a fine and ar
tistic piece of work, and too much
can not. be said in praise of it.
There was a very long cast of most
ly nobodi€»s. Miss Cora Adams and
William McVay scored; Edward R.
Mawson, as the Senator, was weak
and mumblv. He seemed to have
plums in his mouth. (’harles Hai-
ton, as a reporter, was particularly
happy.
But “The Fight” is one, with, a
vengeance, and the play got Its au
dience spontaneously. It is as dras
tic a play as New York has ever
seen, and the American stage has
come to a pretty kettle of fish when
it produces this “idyll” of the “so
cial evil.’ Still, playgoers are “aft
er" excitement, and anything that
can evoke it nowadays i.- considered
legitimate. When we remember the
outcry of a few years ago, we smile
a gentle smile. "The Fight” goes
to the very limit, and it can best
be described as hot stuff.