Ellsworth American. [volume] (Ellsworth, Me.) 1855-current, 1883-11-15
Natural Touches.
COMIC INCIDENTS IN THEATRES.
SPECTATORS TO WHOM THE PLAY BECOMES
REAL.

The performance of play, like the course
of true love, does not always run smooth.
Interruptions will occasionally occur, and
whatever want of effect there may be in the
play itself, there is generally plenty Of it in
the unrehearsed Incidents They are fire.
quently those touches of nature which
make the whole house, for the moment, kin.
There are, indeed. sarcastic people who con-
slider these unrehearsed effects as the best
of the "show," and wish that the plays
themselves could be only half as natural.
One source of these effects is the strong
hold which the illusion of the scene takes
upon unsophsticated spectators. We have
tuous heroine of the piece beset BY wretch
cs, jumps over the footlights to her defence.
An adjuration to "To let the gal alone, won't
YER" has often been heard. 1t is not al
ways gallery occupants who are thus over
come. In the Light o London" there is
scene where policeman comes upon the
heroine lying in doorway, faint and help
less. His "business" is to arouse her BY
shake, and then TO administer restoratives
One evening "well-to-do and pretty dame"
in the stalls, misinterpreting the friendly
shaking, screamed out, "Leave her alone,
you brute, you !" much to the consterna-
ton of the audience and the representative
of the law.
A comical incident, caused by the absorb
ing interest OF piece, occurred not long
ago in the performance of the sensation
play, "Manknd." One of its scenes is
coffee house, the separate compartments of
which are occupied by various people. Here
two villains abstract from its lawful owner,
will, which is Immediately afterward
snatched from them, through window, by
woman. One night when the woman ap-
peared at the window intent on this purpose,
the villains were startled by receiving from
sympathlzing spectator in the pit warn
ing, in laundering voice, to look out for
the old ooman."
critic records that the heartiest laugh
heard for many years past in theatre was
when, on the first night of "New Babylon,"
another sensation play, an outraged "profes-
slonal' in the gallery roared out to the in
experienced actors of the villains parts.
who were about to force open safe Just
where tney could be seen from the outside,
"Why don't you pull the blind down."
Seldom is alluson carried so far as to dis
turb the majesty of the law as embodied in
the attendant policeman, but this was once
the case at a performance of "My Wife's
Bonnet In this piece, one of the actors
plays his part from seat in the "house."
The constable on duty not aware of this ar
rangement, and regarding the actor as a
brawler, endeavored by main force to turn
him out of the theatre. The audience large
ly enjoyed and applauded the new effect,
and urged the policeman on sin the execu-
ton of his duty"
The Interpolation by the audience of re-
marks not as result of Illusion, but of
malice prepense, is another fruitful source of
unrehearsed effects. Thus a story is told
of Mile Cerito, who, in the height of her
fame, was engaged to go with an opera
company to Dublin. Ireland was then in
ths throes of the Repeal agitation, and
many OF the performers did not care to 90
to Dublin at all. Cerito, however, was not
of them, and duly made her appearance
In the ballet In the opening scene she was
raised through trap, reclining as the sleep
ing beauty" When her head and should
ers appeared above the stage, an enthusias-
tic admrer screamed out, "Begorr, shure
she's not afraid to come among the woild
Oirsh.' There were thunders of applause
and roars of laughter, in which the "sleep-
ing beauty" heartily joined"
Spectators, too, are not above making use
ful suggestions. There was one practical
man at least, in the audience at the Cincin-
natl theatre. when the manager announced
with pride that the theatre was being illu-
minated with gas manufactured from lard.
The lights played number of fantastic
tricks, and seemed about to take their leave
of the audience, when the practical man
urged loudly that they should ''drve in an
other hog
1t is not unusual for large part of the
audience to nterpose, when the motive is
strong enough. There was tedious play
not long ago produced in London, in which
one of the characters, a theatrical manager,
had to say to another, ''If any of the public
are not satisfied. their money will be re-
turned' Upon this the gallery rose as one
man. and with outstretched hands shouted,
"Me. me, ME ~