The Indianapolis journal. [volume] (Indianapolis [Ind.]) 1867-1904, 1885-01-11
Notes Of the Stage.

Jo-Jo's Armand Duvar to Krao's Camille
would be a touching spectacle.
Miss Rose Coghlan will star next season in
"Forget-Me-Not,' and new play, Our JOAN
Lawrence Barrett: The real secret of the bad
theatrical season is that the companies are not
so good as they were a few years ago. Good
companies and good plays have done fairly well,
| and will always do so.
The troubles of w. H. Gillette and the Madi
sonsquare Theater Company over ''The Secre-
tary" have been compromised Gillette is to
play the part on the road, in one of the theaters
companies for salary Of $3.50 week.
Charles HI. Hoyt, the author Of "a Bunch of
Keys" and 'The Rag Baby" is engaged in
writing play descriptive of the trials of young
and newly married woman. The hero is a
plumber-in other words, a millionaire.
It is said that that dramatic freak, Skipped
by the Light of the Moon" cleared oyer $50, 600
for Hanson e. Gourley last season. And yet
Sam Hanson was expelled from the New York
Turnover Club" for saying that he thought it
was good play.
Union Square, New York, is filled with seedy-
looking gentlemen very thin as to clothing,
as to stomach, with halfgrown mustaches on
their faces, and not cent in their pockets.
They are actors who have walked from various
points in the rural regions.
Mary Anderson is to make tour of America a
year from this winter Contracts with the
theaters are now being made. A curious feature
of the project is that her agent demands loan
of $500 to So, 900 from each local manager, to be
paid out of the receipts, but partially secured
against the breaking of the engagement by an
| insurance policy on the actresses life.
The firm of Robson & Crane has probably been
the most profitable partnership of actors known
to the stage. They have been together eight
years, and their actual profits have been 1885,
600. They have produced only thirteen plays,
but at least third OF the income has been de-
rived from their performances of Comedy Of
Errors perhaps the largest sum ever realized
by the production of Shakspearian comedy.
The Milan Opera Company lost $50, 900 in the
endeavor to popularize good performances of
Italian opera with low prices of seats. In all
the cities in which the troupe sang the critics
were unanimous in their praise, and it is a mat
ter of regret that the people did not extend
hearty support to the enterprise. There were
no star vocaists, but company of good singers,
and their performances were said to be complete
and strictly musical.
There is good gray venerableness," says
Nym Crinkle about Ristori'S Elizabeth and
Mary that makes us rejoice in the immutability
of some things, but there is an absence of pulse
in them that makes one suspect that art when
kept in a straight line will outive life itself
Very true, indeed; as is also the reflection that
play writing moves on little, and that Gia-
commetti is not quite as close abreast of our
thinking and feeling as Sardou."
Mr.. Augustus Harris the successful manager
of Drury Lane Theater, London, got before the
public. first through sheer importantly. He
Went to Mr. Edgar Bruce, who was running
Simss "Crutch and Toothpick" at the Royalty
Theater, and asked him if his company was com
plete ut is" Don't you want an acting man
agerf NO "a stage manager2" mo"
Don't you want anybody to do anything2"
Bruce engaged him at last, Ito get rid of him.
vtr Of frOY fha c1a 4ran ,of
raneous human interest, by George Alyric Dick
son:
'.Oh the double, dual sweetness of our love
Reciprocal far reaching as is nature
Strikes the full, clear keynote of existence
Gives the cue for trite example,
Is there Nanny without Billy
Or chestnut without a wig2'
Does the average legislator
Comb the hayseed from his hea di
MOI
You bet your sweet life he don't"
A Brussels dispatch to the London Daily
News says: "A lyric drama entitled Waterloo
was brought out last night at the Flemish
Theater The words are by M. Hoste, the editor
Of journal with strong anti Gallican tendenr
cies, and author of a play acted this year which
called forth observations from the French Lega
ton. The music is by the popular composer
Miry. The subject is domestic story contem-
porary with the great events of 1910. One OF
| the tableaus represented the Duchess OF Rleh-
mond's famous ball, another the battlefield OF
| Waterloo, and the last scene the triumphal en-
| trance of the allies into Brussels which never
| took place, as the victorious armies pushed on
| to Paris. Wellington and the Prince of Orange
appear. The piece was much applauded by a
| crowded audience consisting of the Flemish.
| speaking popular class"
| Nym Crinkle: Ada Rehan at Days Theatre
| has evolved !, new order of acting which may
| be called the art of flop The knack of drop
| ping all in heap at the slightest provocation
hes been brought to perfection by Miss Rehan,
/ and in Love on Clutches the furniture has
| risen to the point of furnishing every mcdern
/ convenience. She fops upon lounges, chairs.
| settees, aivans. and, as the sporting men say,
comes up smiling when the spasn ia ose.. No
one it is needless to say. can collapse 50 spenta
neously as Rehan. She is both emphatic and
lymphate. She asplres ana expires with recur-