Acting in "Mourning Becomes Electra" Worse Than Running In a Marathon, Says Alice Brady--I's Not Affected Morbidly

In the upper reaches of the Colonial Theatre, the applause of the audience sounded like rain on the roof. Two attendants, discussing the play outside the door of the dressing room number, parted hastily to admit Alice Brady, the Lavinia Mannon of O'Neill's long but not tedious "Mourning Becomes Electra." Miss Brady manoeuvred around adeptly in her black hoop skirts. Questioned about her agility she replied:

"I ought to. I've been wearing them for six months. I'm used to everything except the physical strain. Standing for five hours is gruelling. The tension is so great, that the work is just as hard as running a marathon. In New York after two months I got the 'jitters.' I could scarcely control my hands. Never again--that is, not for a long time will I take a play as long as this.

And the play is exhausting socially, too. Here it is half past eleven and I haven't had my dinner yet. Helen Morgan has asked me to come over to the Mayfair tonight, but I can't do it. In fact I haven't been able to do anything since I've been at this.

"I've heard cases of actresses becoming affected by the parts they play, but the moment the curtain falls, I promptly forget every word. Nor am I unduly severe or morbid because of the part. And it doesn't affect me subconsciously for I never even dream about it.

"Sensitive? Of course, stage people are more sensitive than other people. They are always playing with their emotions, working them right up under the skin. It's just like throwing your knee out of joint. Every time its easier and after a while it slips out automatically. So emotions! Madame Grousinskaya, the dancer in "Grand Hotel" is no overdrawn example.

"Dogs? I love dogs. Have four of them. One's an Aberdeen named "Hot Cha Lavinia. I also like music. In fact, I started out as a singer. My study at the Boston Conservatory makes me feel quite at home.

"I don't know why there is always a glamour in the stage for the public. It is probably their complete ignorance of the hard work, the prosaic life, the unceasing routine, and the sordidness of backstage. The stage is not all roses and champagne."