ONWARD AND UPWARD
At the first showing of the Buckeye company's new five-reel comedy—Five Reels—500 Laughs—entitled Brewing Trouble, two important members of its cast occupied balcony seats and one of them throughout the piece brazenly applauded the screen art of her husband. "I don't care who sees me," she would reply ever and again to his whispered protests.
The new piece proved to be a rather broadly stressed burlesque of the type of picture drama that has done so much to endear the personality of Edgar Wayne to his public. It was accorded a hearty reception. There was nothing to which it might be compared save the company's previous Hearts on Fire, and it seemed to be felt that the present offering had surpassed even that masterpiece of satire.
The Gills, above referred to, watched the unwinding celluloid with vastly different emotions. Mrs. Gill was hearty in her enjoyment, as has been indicated. Her husband, superficially, was not displeased. But beneath that surface of calm approval—beneath even the look of bored indifference he now and then managed—there still ran a complication of emotions, not the least of which was honest bewilderment. People laughed, so it must be funny. And it was good to be known as an artist of worth, even if the effects of your art were unintended.
It was no shock to him to learn now that the mechanical appliance in his screen-mother's kitchen was a still, and that the grape juice the honest country boy purveyed to the rich New Yorker had been improved in rank defiance of a con-
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