The DeSmet leader. (DeSmet, Kingsbury Co., Dakota [S.D.]) 1883-1891, 1883-04-07
FREAKY ACTORS.
nj Their Mean Tricks on the Stage

And Their Mean Tricks on the Stage.
From the Brooklyn Eagle.
The nicely of good acting is not under
stood by tho theatre audiences. They
know on sight when the persons in a
scene are awkward or ill-timed in their
movements, but do not appreciate the
care required TO prevent such faultiness.
1t is only by thorough rehearsing and
the closest adjustment Of individual eff
forts to make up q harmonious whole
that stage work is ever brOu ,ht anything
near perfection. The Wyndham Com
edy company gave a fine illustration Of
what mean during their engagement at
the Union Square. and on that same stage,
in spite of the discipline generally main
tanned, | have seen bad things in the
wav of responsiveness between the play
ers. Clara Morris habitually disregards
all rules, aud | remember once seeing
her brought round very sharply for an
otiense. She was acting Camille. At the
point where her young female friend, per-
sonated by Maud Harrison, gave an inn
itation Of a lawyer addressing jury, it
had been rehearsed that Maud should
stand behind certain stuffed chair, U.s.
ing it in lieu Of Il desk or table. Well,
when the time came, Clara was sitting in
that very chair, when her proper place
was across the stage. The cue for Maud
to speak was given. She stood mute. IL
was repeated. She gave the star sig
nliicant look ana a gesture, but stubborn
" refused to 90 on. Then Clara went
where she belonged, and the audience
never knew the cause of the hitch.
1t was on that same occSsion that Miss
Morris was punished most severely for
Il 70
When two characters are to handle each
other the actions are carefully rehearsed
in order to guard against false or clash
ing movements Nothing is worse, for in
stance, than lovers who ought To embrace
smoothly and plainly, but who
sparNnd struggle like antagonists before
they finally succeed in getting 1T each
other Owen Fawcett was supporting
Clam I'm her agonizing death scene. Size
ought 70 have let him hold her head at
one juncture. In an impromptu freak
she made him remove her pillow from
the place where it belonged on the sofa;
and when he undertook to grasp her
head according to the duly rehearsed
"business," she took into that erratic
noddle an idea of rising to her feet. The
actor did as he had been drilled to and she
did as she suddenly pleased. The con.
sequence was violent arrangement OF
her blonde wig. and Camille" died with
her hair 2rotesqueiy on END, 10 the
laughing relief of the spectators tears.
They have now at the Union Square
terror in Dick Mansfield, who has
made such q hit as the dying old repro
bate in "Parisian Romance" He won't
give the rest OF the company their rights
in the scenes which bring them in con-
junction with him. One night he flung
Eleanor Carey's hand petulantly off his
shoulder, to the amusement oi the late
audience and the blazing anger of the
actress. She appealed to Manager
Palmer, claiming that she had used ex-
actly the gesture taught her at the re-
hearsal, and Palmer reproved Mansfield, :,
who soon offended again by audibly or
dering Maud Harrison to give HIM "a
larger share of the opportunities in the
noted supper scene, where she sits at
his side in his death carousal A few
nights ago, in scene where Charley
Collins figures as his valet, he concur
ded that Collins was too promin. Mt.
Collins, repeated phase in accordance
with a permission granted by Stage
Manager Parselle.
"Shut up" cried Mansfield
The audience supposed that this was
all in the play, and thought no more
about it; but they did wonder what the
subdued hubbub meant after the cur
tain fell. 1t was caused by scrimmagc
between Collins and Mansfield.