BY MATTHEW WHITE, JR. A Series of Papers That Will Be Continued from Month to Month and Will Include All Players of Note. SHE BEGAN IN "1492." Actress Who Will Have Stellar Rôle in "The Little Cherub" First Saw Thespian Light as a Chorus Girl. When "The Little Cherub" is brought over from London to New York, in this month of August, and installed at the Criterion Theater, on Broadway, Hattie Williams's name will go up over the doorway in electric brilliancy as the star of this musical comedy from the Prince of Wales's Theater. She has won this distinction at the hands of Charles Frohman by the excellence of her work in the support of Sam Bernard during the exploitation of "The Girl from Kay's" and "The Rollicking Girl." I called on Miss Williams the other afternoon and found her not in the least exalted in mind over her approaching launch into stellar spaces. Indeed, seldom have I encountered in the ranks of Thespis a more modest young woman. Although she has been in musical comedy almost continuously throughout her career of thirteen years, she admits quite frankly that she cannot sing, and that she has placed herself in the hands of a good master to learn how. You see, she sets her standard of vocal attainments considerably higher than do those who talk their songs in the musical plays. At Fifteen Dollars a Week. "Yes," she said, in answer to my reminder about her start, "I began in the chorus of '1492,' at fifteen dollars a week. How did I get the job? Why, I was simply stage-struck. I saw in the newspapers that Mr. Rice wanted chorus-girls for his new production, so I went to the theater and asked for him. He saw me at once, and engaged me. "You see, I was a Boston girl, and knew something of the show, as it had been given first by our crack regiment, the Boston Cadets. I remember among the girls with me in that special chorus group, which afterward made up the Daily Hints from Paris, were Grace Rutter (now Grace Elliston), who is the _Mouse_ in 'The Lion and the Mouse,' and Minnie Ashley, who married Mr. Chanler a while ago and left the stage. "When the show was brought to New York, the management gave me, in addition to my chorus specialty, the small part of the _Infanta_, and my pay was advanced to thirty-five dollars. Then A.M. Palmer, in whose theater we were having our long run, offered to make me the dancing girl in 'Trilby,' and I accepted. After that I went into the Hoyt farces and got up next to leading woman. And this reminds me of a funny experience--funny now to look back on, but rather exasperating at the time. "I had been understudy to the lead in 'A Day and a Night' one season, and was getting fifty dollars a week. The next year they wanted me to go out as leading woman in the same piece, and offered me the same money. I naturally thought that I ought to have more, and told them so. Those Elusive Sleepers.