Press Clippings for the week ending
Saturday, 22 March 2008

A random selection of clippings
from newspapers and magazines

Virginia Earl is chief witness
for the defendant in a divorce suit,
Brooklyn, January 1906

Virginia Earl

Virginia Earl (1873/75-1937), American actress and singer

(photo: Marceau, New York, circa 1906)

'Tells of Drinking Wine in Defendant's Rooms at Two A.M.
'NEW YORK, Jan. 18 [1906]. - A comedy was enacted before justice Dickey in Supreme Court yesterday when Virginia Earl, the actress, appeared as the chief witness for the defense in the divorce suit brought by Eugene J. Cantin. In the crowd of five hundred handsomely dressed men and women were some of the best known members of the theatrical profession. Justice Dickey presided like a kindly and humorous master of ceremonies, adding a touch of wit to the passage of repartee between the pretty witness and the aggressive lawyers.
'''You are divorced, are you not?'' asked the plaintiff's lawyer.
'''Of course I am,'' replied Miss Earl, bridling.
'''Who obtained the divorce, your or your former husband.?''
'''I did, of course,'' she snapped.''
'''Are you married now?'' asked Justice dickey, looking kindly at the pretty woman.
'''No - NO - NO!'' declared Miss Earl.
'''Ah, I see,'' said Justice Dickey, mildly.
'Miss Earl smiled back acquiescence.
'Cantin, an actor, sued Louise de K. Cantin, naming Harry M. Moses, an auctioneer at 156 Broadway. Miss Earl was Mrs. Cantin's chief witness. Not content with merely combating the suit by general denial, Mrs. Cantin set up a counter claim, naming a Mrs Waldon and other.
'Mr. And Mrs Cantin were married twenty-two years ago, and for a long time lived at the Clarendon Hotel, Brooklyn, but recently their home has been at the Vendome Hotel, Manhattan. For years they have entertained lavishly, and so every actor and actress who could keep clear of engagements donned the handsomest raiment and traveled to Brooklyn in automobiles, carriages or trolleys.
'When they reached the court room they crowded every bench, filled the aisles and packed very available point of vantage. At first Justice Dickey ordered the aisles and the paces back of the benches cleared of the women in picture hats and ermine. But their piteous glances melted the court and finally he told them if they were good and kept quiet they could remain.
'Mr. Moses was the first witness. He made indignant denial of the charges.
'''Why,'' he said, waving his jeweled hand in the air, ''my relations with Mrs. Cantin were those of a consoling friend. I never overstepped the bounds of friendship. I deeply respected her.''
'''Why did you visit her so often?'' was asked.
'''Well, her apartments were on my way home from business, and I frequently visited her to see how she fared, for she was an invalid.''
'Interest in Mr. Moses vanished as Miss Earl strode to the stand. Never has the Supreme Court been graced with such a toilet. Her dress was of dark gray and made in Paris, her picture hat had a flare that French milliners alone can give. Her first of costly sable, her jewels of the first water, and, more than all, the roses of her cheeks, the ruby of her lips, thee first of her eyes, made her a picture to delight even the blasť throng of professionals.
'Indignation had been the keynote of Moses' testimony; vivacity was the tone of Miss Earl. The twelve jurors never took their eyes from her from the moment she appeared.
'''I have lived for the past two years at the Vendome,'' she said.
'''Were you a frequent visitor at the Cantin apartments?''
'''Oh, yes. In fact, I frequently used to stop at their rooms after the play, but I never saw any impropriety between Mr. Moses and Mrs. Cantin.''
'''Is it not a fact,'' asked Mr. Cantin's lawyer, that there were late revels in Mrs. Cantin's rooms, at which wine flowed - and general jollification?''' 'Mr. Cantin's lawyers produced several witnesses, who testified against Mrs. Cantin, though mainly their declarations were inferences, tending to build up a circumstantial case.
'The jury found for the plaintiff. Mrs. Cantin half rose from her chair and tottered as though she would fall.'
(Oakland Tribune, Oakland, California, Thursday, 18 January 1906, p.9f)

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Bertha Kalich in The Kreutzer Sonata
at the Belasco, Washington, D.C.,
week beginning Monday, 13 April 1907

Bertha Kalich

Bertha Kalich (1874-1939), Jewish actress

(photo: Moffett, Chicago, circa 1910)

'On Monday night, at the Belasco Theater, Bertha Kallich will make her second visit to this city as an English-speaking star, under the direction of Harrison Grey Fiske, and will appear in the English adaptation, by Langdon Mitchell, of Jacob Gordin's notable Yiddish play, The Kreutzer Sonata. This drama was written especially for Mme. Kalich, and in it she made one of her greatest successes during her career on the Yiddish stage. Unlike the majority of plays in the Yiddish tongue - written as they are for the limited world of the Ghettos of New York and London - The Kreutzer Sonata possesses a story of the kind and quality to appeal to the theatergoers of all nationalities. Therefore, Mme. Kalich brings it with her from her old to her new field of artistic endeavor. Mr. Mitchell has, it is said, retained all the dramatic strength and flavor of the original work, while molding it into the symmetrical form and adorning it with the literary quality that the best standards of the modern English-speaking stage demands.
'The scenes of The Kreutzer Sonata are laid in Russia and in New York, at the present time, and the characters belong, for the most part, to that better class of the foreign-born, whose aim in coming to America is for the larger life rather than the larger monetary gain.
'It will be readily appreciated by those who saw Mme. Kalich last year in Monna Vanna that the role of Miriam will reveal an entirely new facet of the actress' genius from that which was displayed in the role of Giovanna. It is an equally strong character in its emotional intensity, but requires a style of acting of an entirely different order. The success of Mme. Kalich in the Yiddish version of the play, is a sufficient guarantee that her impersonation in the English adaptation will be extremely interesting.'
(The Washington Post, Washington, D.C., Sunday, 14 April 1907, Fourth Part, p.2d/e)

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Vasco, The Mad Muscian,
at the Empire Theatre,
Leicester Square, London, 1909


Vasco (fl. 1897-1923), The Mad Musician

(photo: unknown, circa 1910)

'. . . About a third of the parquet wanted no more for its money than those two ballets, and went to its carriages after a final hand clap for [Adeline] Genee. Yet the program had a third good thing next ensuing in Vasco the Mad Musician. He played many instruments frantically, sang snatches of tunes crazily, leaped and tumbled like a lunatic, and all the time has array of burnished metal implements and embellishments shone by electric lighting on an otherwise dark stage. After him few in the parquet waited to see a concluding series of moving pictures. It had been a big, expensive and very excellent show satisfying people who paid twice as much as Broadway does for vaudeville yet New Yorkers generally wouldn't care much for it. Genee you know had to give dances that were stunts to please us.'
('London's Vaudeville Shows and Its Strict Curfew Laws,' The Washington Post, Washington, D.C., Sunday, 1 August 1909, section two, p.3b)

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