Indianapolis Journal, Volume 54, Number 94, Indianapolis, Marion County, 3 April 1904 — Page 24

TUE INDIANAPOLIS JOURNAL, SUNDAY, APRIL 3, 1904.

PART THREE. s

Favorite Actresses in Romantic Plays at English's This Week 'Julia Marlowe in "Knighthood" and Amelia Bingham in " Olympe"... Hig'hClass Vaudeville at the Grand... Melodrama and Musical Farce at tHe ParK... Burlesque at the. Empire,.. Theatrical Gossip

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riVEDERICn DOWERS . ropular Song Writer and Dallad Singer at the Grand. ULIA MARLOWE, always a great favorite In Indianapolis, will appear at English's Wednesday evening In a beautifut revival of ft1 lVl -When Knighthood Was in Flow er" the Paul Kester stage version of Charles Major's story. In which the charming actress toured the country so successfully for two years. The last time Miss Marlowe appeared In Indianapolis her play was a disappointment, for the dramatization cf Mr. Cable's "The Cavalier" proved unworthy of her great talent as an emotional actress. The comedy In which she acted during the first part of this season Mr. Esmonde's "Fools of Nature" also proved unsuccessful, and so, after a trip to Europe, durinaf which she secured much-needed rest, she returned to the Major-Kester romantic drama that had already proved its worth, and to the character of Mary Tudor, which had on for her the unstlntld praise of all the critics. There has 'never been but one opinion regarding the availability of Paul Kester's dramatization of Mr. Major's romance of chivalry to Miss Marlowe's purpose. It gives her renewed opportunities to run the whole gamut of dramatic expression, from the lightest comedy touches to deep, poignant tragedy. Throughout the first act, as will be recalled, her charm as a comedienne la probably better displayed than in any other role she has attempted, and the tremendous outburst of rage and offended dignity with which the act closes öfters a startling contrast to the lightness and touch-and-go Quality of her work in the opening passages. In the second act the comedy vein is again resumed. The merry ecene in which she routs the tailors, and, t7 taking refuge In bcdt seeks escape from ber brother's command that she marry Louis of France, is a triumph of laughter, and almost before it has died away, it will be remembered, the note Is quickly changed and the subtlest pathos is displayed in the reconciliation between the princess and Charles Brandon. In the third act, which transpires at the Bow and String Inn, on the seacoast near Bristol, the movement of the play is adroitly balanced between comedy and tender f 'entiment. The act begins in a gale of merriment caused by the princess' passage at arms with a band of rought sea-faring men whom she tries to convince that she is a ,your.g cavalier on the way to seek fortune and reputation in the new world. Thus, ttimughout all It3 four acts, the play skillfully unites emotionalism and delicate comedy, ' with a few passages that approach genuine tragedy. The original scenic investiture of "When Knighthood Was in Flower," which attracted unusual attention by its magnificence on the play's former production, will be used by Miss Marlowe for the present engagement. Her supporting company, headed by Tyrone Power, is said to be the finest organization by which she has yet been surrounded. The seats for the one performance will be placed on sale to?morrow. Another favorite actress will be the second attraction of the week at English's, Amelia Bingham, coming for matinee and evening performances Saturday in the new romantic drama, "Olympe," written 'expressly for her by the French playwright Pierre Decourcclle. This new play of Miss Bingham's is a far cry from the modern comedies of manners with which the actress's fame has been chiefly associated since her elevation to stellar honors, for it 13 a emi-historical story of the days of Louis XV. It affords Miss Bingham a role in which she runs the gamut of the emotions and. it is said, shows that she can play the grand dame of the rast age as well as ehe can enact the society woman of the present day. Decourcelle. who, by the way, also wrote that highly successful melodrama of life in Paris, "Two Little Vagrants," concedes the Inspiration for his new piece to the elder Dumas. The story hangs upon the love of Jaciues Bannlere, a novice in the Jesuit cloister at Avignon, for Olympe de Cleve, a provincial actress of great beauty and talent, lie plunges hopelessly in love with Olympe and follows her about the country until he is tricked by political conspirators, who wish to remove him from the vicinity X

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i : i. S(R , : ? ' vi 4 m v VIOLET DALE Late cf "The Chinese Honeymoon." at the Grand. of Olympe, into believing that she shares her favors with King Louis as well. Jacques surrenders himself as a deserter from the army and is shot as Olympe reaches his side. This story is set in scenes of great beauty and Interest, the first act showing the cloisters of the Jesuit College, with the rich colors of the flowers and tho splash of the fountain contrasting vividly with the cold gray walls of the chapel and the chants of the monks. Miss Bingham's supporting company contains the names of some very well-known players, comprising, as it does, Henry Woodruff, the handsome young actor last seen here with Mrs. Fiske in "Mary of Magdala, "' Creston Clarke, who played here early in the season with James O'Neil, J. H. Gilmour, Edgar L. Davenport, Myron Calice, Ivy Troutman. Adclyn Wesley and twenty-five others. The Kile of seats for the engagement will begin Wednesday morning. The Grand Vnudeville. For the first time this season the Grand will have as its chief feature specialty this week a male singer. Frederick V. Bowers, the composer and balladist, will be the "headliner," presenting a tinging act that is said to surpass anything of the kind ever offered on the vaudeville stage. Mr. Bowers is the handsome young man who was the matinee idol of the Dockstadcr Minstrels during the first part of the season. When the minstrel company appeared in Indianapolis he was not with the organization, having just resigned in order to go into vaudeville with the new act, which he had prepared and in which he will be seen here. He is the composer cf the two love ballads that have met with more success than any other songs of their class in the last five years "Because" and "Always" and, besides having written these popular pieces, he is the creator of many other tuneful ballads that have proved great "winners." In his specialty he introduces elaborate scenic effects and depends as much upon his spectacular stage setting as upon his own voice to arouse the enthusiasm of his audiences. Burke and Larue's "Inky Boys" will be another star feature of the new programme at the Grand. This act is a nonsensical one and is credited with being a great laughmaker. It has never been seen in this city and 13 expected by the management to score a hit. Violet Dale, who until recently was with the "Chinese Honeymoon," playing one of the leading feminine parts in that pretty musical comedy from England, will appear, rendering a repertoire of new songs. Miss Dale Is a handsome woman and a sweet singer and her contribution should prove very enjoyable. The Gotham City Quartet will make their local debut, giving a sketch in which comedy and vocal music are intermingled. Two of Europe's greatest acrobats are the Brothers Schenk, who come for the first time to Indianapolis in an original exhibition in which they have been scoring a great success in the Kastern vaudeville houses. Mme. Emmy and her performing poodles will give an act that promises to be an interesting one. The little animals are said to be perfectly trained. Kherns and Cole, German comedy stars, will be seen in what is said to be a laughable specialty, and Dave Nowlin, the well-known monologuist, will provide a humorous act. The programme, as usual, will come to a conclusion with a series of attractive bioscope views. Tlie Park Two Attractions. Theodore Krcmer will be in evidence at the Park again ttfis week, his melodrama, "For Her Children's Sake," coming to-morrow for three days. Its plot is evolved from the theme, of filial duty and mother love. There is a love affair between a parson's daughter and a man whom he opposes. The daughter forsakes her home, and after a series of exciting adventures, she becomes known as Madame Asliton. an equestrienne, and a good deal of the action occurs in the dressing tent of a circus and lends with a tragedy when a child shoots its father. Beryl Hope impersonates the parson's daughter. The roguery is rn the hands of Edwin Walter, as owner of the circus. There is a secondary love story that is developed by Adna Ainslee and John Ince. Frank Kelly appears in the dual role of a young spendthrift and a circus clown, and the comedy Is developed by Anna Barton as a German housekeeper at the parsonage. The scenic vesture includes a circus ring with the performance in progress. When John and Emma Bay, two Indianapolis favorites, were rounding up money with "A Hot Old Time," it seems that they were doing something besides gaining ft . ' Rxx v, j v-'.t;Ä V- R.vs A? M . 'RRi j v f .-s- - '- ' ' '- R"Rl 'if " ''-, . iK 5 , ' ."V- ' ' "1

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wealth. They were starting on its way a musical "what-not" that seems destined to go on to the end of productions of its kind. "A Hot Old Time" comes to the Park next Thursday to fill out the week. The piece is now without the Rays, it is true, but Ed Weston and Lottie West Symonds are said to give a worthy imitation in the parts the Bays played for years. It is assorted that the piece has been "edited" and brightened with so many features and so much muic that the Bays would hardly recognize the production which they once exploited. William Sol!ry, Edward Collins. John McMahon, Gussie Nelson and a number of othr singers and funmakers are given prominence.

The Empire Ilarlesqne. A burlesque organization that has won favor in Indianapolis in past seasons Is the Bon Ton Travesty Company that will open a week's engagement at the Empire tomorrow afternoon. Manager Ed F. Rush, who has had the combination on the road' for the last four years, claims that the merry burlesquers arc giving a better show this season than ever before, apd hi3 press agent, a poetic gentleman, goe3 him one better and says that "the two burlesques given by the Bon Tons will be appropriately costumed, staged and equipped; myriads of fairy lights and incandescents will illuminate every scene; the splendid array of shapely young women will be led through numerous marches, dances and ensembles by stately stars, and the comedians, a capable and well-selected tribe, "will keep the humor rife from start to finish. The specialty bill will be one of the season's best." It is not the custom of the Journal to print the effusions of press agents, but this one is worth some mention. "Stately stars" is a new description of burlesque queens, and it is Interesting to learn that the comedians are "a well-selected tribe." Two musical travesties will be presented "Sunny Spain" and "The Lady Killer" and in both of these pieces the funmakers and pretty chorus girls will be given , opportunities to indulge in much mirth and song. The olio of specialties will include Hughes and Hazelton, in a novel act called "The Gladiators;" De Veaux and De Veaux, a musical duo of reputation; Bosaire and Taft,' in a comic acrobatic act; Williams and Aleene, in a comedy sketch entitled "Mr. Dobbs, of Dobbs's Ferry," and the Orpheum Trio, Mahoney, Moxon and O'Connor, singers and dancers. Little Rita Do La Hartz, a dainty soubrette, will appear in boch burlesques. NOTE AND COMMENT. The end of the theatrical season is now looming up in the distance, but before the last curtain Is finally rung down in In(5!) EDWIN WALTER In "For Children's Sake" at the Tark. dianapolls local play-goers will be given an opportunity to witness some of the most important productions of the theatrical year. In fact, from now on until the middle of May Indianapolis is to be treated to numerous attractions of the highest class. Next week those two wellschooled and conscientious actors, Fredcrick Warde and Louis James, will be seen at English's in their new historical drama. "Alexander the Great." They come for but one performance, Monday evening, April 11. Henry Blossom's successful ra cms play, "Checkers, '-' will return to Indianapolis on the following evening for an engagement of two nights and matinee. The piece has been greatly improved since it was seen here last season, at the very outset of its career, ana comes back to the territory from which it started fresh from a triumphant run in New York. That best of all comic opera comedians, Frank Daniels, will be at English's the last two nights of next week in, his new musical piece, "The Office Boy." The week after next English's will have the New York Casino extravaganza, "The Runaways;" Francis Wilson and his all-star cast in "Erminle;" Maude Adams, in "The Pretty Sister of Jose," and the greatest of American ac tors. . Richard Mansfield in either "Old Heidelberg" or "Ivan the Terrible." the bill' to be announced next Sunday. Annie Russell and Viola Allen are also booked for spring engagements at English's, and, although it is 1101 üs yet definitely arranged, there is a chance of Fritzi Schelf, "the little devil of the operatic stage," playing an engagement here in "Labette." Nat Goodwin played an April fool trick on his old Indianapolis friends the other night, und one that was hard to accept good-naturedly. The comedian, who is undoubtedly one of tho cleverest actors- on the stage to-day, gave a fine performance in "A Gilded Fool," so far as he himself was concerned, but what right had he to demand J a seat when surrounded by such a mediocre company? Perhaps he was unable to obtain the supporting players that he wished to engage, tor his present company was hastily organized in the middle of the season, after his failure in the big production of "A Midsummer Night's Dream." and good actors were probably not available at the time that he started rehearsals for the revival of his old comedy, but thhä fact docs net excuse him for his action in asking his patrons to pay more moiuy than his performance was worth. His brother-in-law, Forbes Robertson, who is by far the greatest actor that Indianapolis has seen this season, and in the opinion of many critics tho best actor in the world at: the present time, was satislied in receiving from his auditors the usual admission fees that is, $1.5J for the best orchestra Heats. ' And Mr. Robertson not only gave a magnificent "performance himself, but he brought with him a capable supiorting company and two beautiful productions. With three exceptions Mr. Goodwin's associate players last Wednesday nifc'ht were wholly unequal to the parts, assigned them. And as good as Nat Goodwill is in a light comedy role, he is placing too high a premium on his present revival of an old play with a poor company. A new tragedy by Gabriele D'Annunzio, the Italian pott, is soon to be produced in Milan by Eleanora Duse. The title of the drama is "Jorio's Daughter." It is a story of passion, superstition and fanaticism, and is said to bear a strong likeness to Sardou's latest play, "The Sorceress," in which Sarah Bernhardt has been acting in Paris. In the D'Annunzio piece, Mila, danghter of a magician, is believed to U a witch. Persecuted by the fanatical peasants, she takes refuge with a wedding party, and the young bridedgroom, Aligi. coming to her rescue, drives out her persecutors. Love is born of the friendship between the two. Alisl leaves hi$ bride and goes with Mila into the mountains to tend hi. sheep. Their love 13 still platonic r.nd Aligl is thinking of going to Rome to obtain a release from his marriage when his father appears and Insults Mila. Enraged, Aligl kills his father and he is condemned to die, but Mila saves hU life by

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taking the guilt upon herself, she declaring that she bewitched the parricide. And Mila dies, none suspecting the sacrifice, not. even the man she loves. If the play. proves a success Madame Duse probably will make it the feature of her repertoire when she comes to America next season. In the Theater Magazine for April, Virginia Harned describes her first meeting with E. H. Sothern, whom later she married. "I had been playing In A Long Lane at the Fourteenth-street Theater," says Miss

.-.V. Jt. 4r : wy , u r . :;'.'a ;: : y rl R7 V. BS22 JULIA MARLOWE, At English's in "When Knighthood Was in Flower." Harned. "The play was not a success. It only ran for five weeks, but It helped me. I had a good part, that of a comedy actress, and the last week of the engagement I was asked to go to Mr. Daniel Frohman's office. I was there ahead of time, as happens with aspiring young women, but early as I was, Mr. Sothern was there before me. There had been an accident at New Rochelle, and he was injured, so it happened that the first time I met Mr. Sothern he was on crutches. "Mr. Frohman introduced us. and, turning to Mr. Sothern. said: 'Do you think )?he's too tall?' " 'Stand up.' said Mr. Sothern. I obeyed, but I 'scrooched' down as much as I could without attracting attention. " 'What is your height?' Mr. Frohman asked. "There and then I told an awful fib. Mv height is about live feet six inches, and I told him I don't remember what, but ever so much loss. " 'Do you think she is too tall?' Mr. Frohman asked again. " 'No, I think I can hold up mv head as high as that!' And for that answer I blessed Mr. Sothern. '."But my mind was taken up with art and an engagement. He seemed to me embodied art. I did not think of him as a man until a'fterward. "I was engaged as his leadins woman. But it was odd wasn't it? and most unpoetic, that the first time I saw 'E. H.' he should be on crutches, and that the first time he saw me I should tell him a dreadful fib about my height!" Henry W. Savage declares that it is all nonsense to say that musical comedy Is dead in this country. Mr. Savage has reason to make this statement, as every musical show that he has brought out this season has proved an immense success. From the ordinary walks of commercial life (Savage was a real-estate man in Boston only ten years ago) to theatrical management on a big scale is a transition that is not often made with success, for if there is one business more than another that would seem to demand the special knowledge due long experience, it is that of exploiting stage people. Now that Savage has taken upon nimself the management of the Garden Theater in New York he beccmes an active figure in the theatrical life of the metropolis.. He said last week to a New York Times interviewer: "It is quite likely that I shall establish in New York a permanent lyric stock company composed of the very best material obtainable. The artists forming this group will interpret- the different musical comedies and comic operas brought out by me from time to time, and these works may be sent elsewhere subsequently with specially chosen casts. The Garden Theater, which is constructed upon the linos of the continental playhouse, where width is considered rather than depth in planning an auditorium, has the advantage of bringing the audience down close to thu footlights always a good thing for emphasizing the value of comedy." William Jerome, the song writer, contributes this story abcut Dan Daly to the long list of anecdotes that have been appearing in the New Y'ork papers since the sudden death a week ago of the popular comedian: "I was the only song writer who could ever induce Dan to try a new song or attempt an interpolation. This I attribute more to my familiaritv with his disposition than to the merits of the songs, fcr many other good sonqs were suggested to him. only to be rejecteel. 'It was my method to approach Dan with a new number and say: 'I've got a new son j? here and I guess it must be rotten, for I can't get anybody to sing it.' " 'Let me soo it.' replied Daly. After humminer it over, he would say: I don't think that's so bad.' 'Well I woud say, 'Ruler, Cawthorne and Eddie Foy all turned it down. They say they would be hissed off the stage if they used it; nothing in it " 'Let me have it,' Daly was sure to reply. 'I'll sing it.' "The triek never failed." ' Life sums up the present theatrical season in a few words: "The Amerfcan public is now suffering the natural result of permitting a commercial monopoly to have complete control of its drama for a number of years. The trust's methods have been so strongly directed to stamping out independent effort that it seems completely to have strangled ambitions in the direction of stage writing. By its control of theaters and its methods of forcing inferior productions drtwn the throats of the public it has diverted the rewards of the theater to the creatures of its own making, and now that 'RR RR ' RR R ;Rr'R-,:;R, R v-tr. ffvA;, vrc;: R R- . . : : 'K R:,:' v-'--'--..i,;---V,:., Vv: tau kMiüiMiiaa KITA DE LA HARTZ Uurlesque at the Umpire,

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the public refuses longer to stomach this product, it looks in vain for material to supply the rlayhouses on its hands. The markets of Europe are stripped of everything, possible and impossible, but that source of supply is limited. If the public persists long enough in refusing to patronize the syndicate's machine-made stars and tailor-made plays that stupid organization may be made to wake up to its error." . "I have recently been' asked," said Mr. Mansfield, "to write an article on the American audience. Now, that is impossible. There is no such thing as an American audience. There is an audience in every American city, and every audience differs from the other, but if I were asled what trait is most apparent in the attitude of the American public toward tho American actor I should say that it was a negative one a lack of the personal affection which Europeans show toward the artists who entertain or Instruct them. "A loyal personal affection is given in many instances by the people of France to the popular idols of their stage. They are loved by their audiences. People are drawn to their least successful efforts by reason of this personal affection. In England there is the same mutual cordiality. No veteran lags superflous on the English stage. In their declining years, when their art has declined with them, the veterans still retain their hold upon the public. Why, even when a singer has lost his voice he doesn't lose the public. People rushed to hear Mr. Sims Beeves whisper. It is not that thev liked his whisper; they liked Mr. Sims Beeves. In this country people do not come to see Mr. Mansfield; they come to see the new play Mr. Mansfield has produced, provided they like it, or the old play he has reproduced, provided they like it. And their memory is so short! It is the play of the hour that stamps the actor for the hour. If I produce a tragedy I am a tragedian; if a comedy, a comedian; if a romantic play, a romantic actor." . To the general mind the life of a famous actress is a bed of rose petals and down. That of Eleonora Duse, the great Italian actress, has been one of poverty-stricken toil and hard and well-digested study. To those who witnessed one of Madam Duse's realistic performances it seemed hardly possible that the celebrated artiste of today was once an over-worked, under-paid strolling player. While yet only a child she "was the main support of a large family and the ictim of poverty, that with one less brave morally, or less strong constitutionally, might have sapped life, and genius as well, to the foundations. Added to this was the trial of an unhappy marriage. Madam Duse never had any child-

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GUSSIE NELSON In "A Hot Old Time" at the Tark. hood. Married to a mediocre actor, Signor Cecchi by name, who, by the way, has since deserted the stage and is at present a newspaper man in South America, Madam Cecchi became the mother of one daughter, and then separated from her husband. Her daughter is at present being educated in Germany. But the trials that made Madam Duse's early life so hard did much toward deepening and ripening those moral and mental eiualities which have made her such a great artist. Suffering is the keynote of her temperament. Suffering has lent to her naturally gay disposition that touch of melancholy which is inseparable. Suffering has sharpened her analytic bent and put her in touch with every phase of human feeling. The most notable recruit of recent years to the ranks of musical comedy is Alice Fischer, who hails from Terre Haute, Ind. Although she was "featured" for several years in big melodramatic and spectacular productions, and for the past two years has been "starred" in society plays, she was happy when she got the offer from Mr. F. C. Whitney to create one of the principal roles in his new Stange-Jerome-Schwartz production for the Casino. This kaleidoscope concoction of fun and melody has been named "Piff, Paff, Pouf," abbreviations of the names of three of the leading characters. Ixird George Piffle, played by Templar Saxe; Macaroni Pafile, played by John Hyams. and Peter rouflle, played by Eddie Foy. Miss Fischer, as a dashing society widow, is saiel'to have the most congenial role in which the has ever appeared. It is also handed around as a quiet "tip" that those who imagine Miss Fischer can't Fing because they have never heard of her as a member of the Maurice Grau Grand Opera Company, are in for a pleasant surprise when she starts warbling on the Casino stage. Fred C. Whitney is one of the busiest of New York managers at the present time. His riew musical production, which rejoices in the picturesque title of "Piff, Taff Pouf," went on at the Casino last night with Eddie Foy, the best of clowns; Alice Fisher, the comedienne from our own Terre Haute, anel a number of other Broadway favorites in the loading roles. The new play. "An African Millionaire," made from the late Grant Allen's story of the same name, is a Whitney production, which will be seen in the motropolis this week, and the comic opera, "A Chinese Doll," which will have its first presentation in Philadelphia to-morrow night, is also being engineered by the former Detroit manager. Mr. Whitney's father made his millions placing organs, melodeons and ether pianos in the farmhouses of-Michigan, and it wa3 Whitney, sr., that gave Detroit its first real theater. I 4"Papa Mulot," by Bobert Charvray, which has just been produced in the Theater Antoinne in Paris, differs somewhat from the ordinary run of plays at that establishment. The central figure is an elderly man, broken by ill health and misfortune, who refuses to accept the fortune inherited by him from a discarded daughter, en the ground that it had ben acquired in a life of shame, and Is polluted money. His wife, daughter, intending son-in-law and bis lawyer try to overcome the resolution, but he is obdurate and elis without yielding. By his death his surviving dau'ghter becomes heiress, and sh eager to marry, accepts the fortune readily enough. Tlie lawyer supplies the play with its moral tag. He commends the honorable instincts of old Mulot, but hints that, as father of a family, he was scarcely justified in obeying them so Implicitly. Blanche Bates, who is to be seen in Indianapolis at the Park during May in the beautiful Belasco play, "The Darling"of the Gods" (a special attraction at that theater), will close her road tour immediately after her engagement in this city, and will sail without delay for a short European vacation, returning to this country In July to begin a long engagement in St. Louis as one of the big theatrical attractions during the, cxoitiou.

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AMELIA BINGHAM Who Comes to English'a in the New Romantic Drama, "Olympe." The Theaters of New YorK Revival of the Old Play cf the "Two Orphans" Chief Dramatic Event of the WeeK.. .An Amusing Ibsen Play

Correspondence of the Indianapolis Journal. IBW YORK, April 1. Will you TVF I younger readers permit me a usually write? Ah, yes, I know that you have lived a quarter of a century, or less, get inattentive as soon as a man who has lived half acenutry, or more, begins to tell about things he saw when he was young. But we have this week a reproduction of "The Two Orphans" with a company which bravely, boldly, brazenly challenge comparison with the one which gave the introduction of that melodrama twenty-nine years ago. So what can an oldish fellow do but look backWard? "My goodness, but it doesn't seem so long," I said to a survivor of the original cast, who was in the audience at this revival, "since I saw you give a performance which insured an income for life. Mrs. Stevenson." I said for Kate Claxton is still the wife of Charles Stevenson, although she has of late years declined to live with him "I don't mean your first appearance at the Union Square Theater as the blind orphan, but that later one in a Brooklyn cafe." She looked at me inquiringly. "On the night that the Brook-' lyn Theater burned," I explained, "the first editions of the New York morning newsI papers contained accounts of the fire with no Intimation of the loss or two hundred lives. When word was received in the offices not by 'phone, as there was none that few of tho people in the gallery had got out, all the reporters available were hustled across the rivernot by trolley car and bridges, as there was neither and I was one of the young fellows who went over by ferry, ran a mile up the steep street and arrived breathing hard - at -the place of the disaster. Several of us found you in the back room of a saloon where you had taken refuge. You still wore the tattered gown of the beggar, Louise, and In her manner you were shivering with fright. You gave such a depiction of terror as I had never seen before and have never seen since." "Do you mean to say I was acting?" Mrs. Stevenson exclaimed. "Yes," I insisted, "and acting sflendidly because unconsciously. You felt every whit of the emotions you expressed and spontaneously employed every bit of your ability as an emotional actress in tho unwitting achievement." - Kate Claxton did not needÄo be told why I spoke of this involuntary performance as having insured her an income for life. But the reader may like to know, too. By a chance she was the only member of the company at hand when the eager reporters got there. By another chance she was a fluent talker,, made eloquent by excitement. Her rapid narrative of her flight from her dressing room through a cellar to the street was sent to our morning Journals in New York and thence telegraphed all over the land. Not until afternoon was any other player's talk published. By that time Kate Claxton had gained more publicity in the reading matter of the press than a million dollars would have bought in the advertising columns. After twentynine years she is still making tours in "The Two Orphans." About the revival of this old play? "Well. one fact is made clear. The longevity is not due to Kate Claxton's good advertising luck, although that helped; nor to the impetus given at the outset by a cast of suitably gifted actors, although that helped,. too; but to Adolph D'Eunery, the French author, a master craftsman in melodramatic work. Two foster sisters are abducted upon their arrival in Paris, one by an aristocratic libertine and the other by a beastial beldame with a lustful son. Not R : . RR; s rR.tJrrAT "-4 .." y&-. ÄJ&R a 1 , 1 ELITA PKOCTOR OTIS Two of the Actress in the All-Star Cat of

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R " , L RR ': until the end of a long play do they get together in happy safety. In the meantime their virtue has had pitiful .and perilous encounters with vice. Their stories are carried along separately in the action, whilo a third, concerning a proud family's secret, gives a background for the two others; yet there is never, in ail the shifting of episodic scenes, a minute of confusion in plot or lapse in interest. The seven sections, if you will remember, closed with situations which are not forced, yet are strong enough to make you wipe your ryes for the maidens, clench your fists for their enemies and clap your hands for their friends. D'Ennery had a favorite trick of laming, blinding and defcrmlug the surferers in his fiction for the stage, and he made a double play , for sympathy with it when he associated the sightless Louise and the crippled Pierre. They won out with the new Broadway audience on Monday right as they had In Union square in 1S74. The progress in dramatic art has been considerable in the intervening twenty-nine years and a quarter. No cue who writes nowadays other than crudely for the rabble dares tolet his characters tell their motives and intentions in soliloquies; but nearly all of D'Ennery's laft act Is made up of such direct explanations to the audience. But in every other respect this work remains, in my Judgment, the best model in ita class. 4A play which authors like to cite as proof that American managers cen't know good matter when they read it, is this same one of "The Two Orphans." Hart Jackson saw it acted in Paris, bought the right for this country on credit at $700, made a translation in which he Judiciously but clumsily lopped off an act, offered It In vain to all our producers of that day and at length. Just before his option expired, persuaded A. M. Palmer to take it at no advance on the low purchase price. The weather was blizzard cold and stormy during the first three days of its presentation here and the audiences were all small and rather chilly. The feeling of the critics seemed to be that a Bowery melodrama has been misplaced in Broadway. A less virile but calmer piece was made ready in haste for rehearsal. But -the sky soon cleared over the venture and the sun of prosperity shone on it. But D'Enneryi added only tho JTIiO to his wealth and Jackson got for his tinkering nothing else than employment by Palmer as a secretary In these times the royalty would amount to $20.000 or mora in a single season. Palmer made a fortune, to lose in later ventures. Kate Claxton became a star actress and purchased the Jackson version, for which she is receiving pay during the present revival. The reproduction of "The Two Orphans with nine stars in the cast, made the theatrical occasion pf tho week. No one of them had been a shiner of the highest known resplendence and several had no more than gleamed fitfully. Yet Kyrle Bellew, James O'Neill. Charles Warner, E. M. Holland, Margaret Illington, Grace George, Annie Irish, Elita Proctor Otis and Clara Morris were a remarkable assemblage. I shall not go into any particulars of comparison. Opinions are bound to differ and mine would not b the convincing one among the many. Merely as a record I will set it down that, in the order I have namd them they have the roles taken originally by Charles B. Thorne. Frank F. Markay. McKee Bankin. Stuart Bobson, Kitty Blanchard Rankin. Kate Claxton, Fanny Morant, Marie Wilkins and Ida Vernon. It the list arouses no memories of your own, as probably It does not, yor may te content with my estimate that the new performance Is better than the .!d one In some places, poorer in others and quite equal In the general average. James O'Neill is men tionable further as the nearest to a survivor of the oriRlnal company. He followed. Mackay as the cripple in the Fecond season. And there's Clara Morris good old Clara Morris! Next to Falmer in the reminiscent affection of the Monday audience which gave two protracted spells of applausc to him -phew as honored above any (CONTinüed'ön-pXvn;5FXttT 3 J 77 z" ÄRR 4 R . --- H . : 7-

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