The Indianapolis journal. [volume] (Indianapolis [Ind.]) 1867-1904, 1886-11-28
Story Of a Young Man Who Went to the
Great Metropolis to Win a Fortune.
Munkacsy's Great Picture, "Christ Before
Plate" and How II Is Likely to Impress
Sincere Followers of the NaZarene.
THE GREEK DRAMA.

eemDled In the Academy or MUSIC TO see Inc
performance of a Greek comedy, THE Archari-
ans" By students from Philadelphia, is regarded
as the handsomest ever known in New York, be-
cause its excessive fashionabeness was permeat.
ed by intense intellectually. Inspired by
truly archa illogical impulse. the managers OF the
show had provided costumes for the actors that
were exact limitations OF the ancient Greek fash
ions. The general cut Of the Athenian gar
gnents should be pretty well known by all who
have had any intercourse with art, and it cannot
De presumed that any of the audience at the
Academy of Music had failed to see and admire
numerous statues and paintings illustrative of
antiquity. Nevertheless when the two dozen
young men of the chorus and the sew
eral solo actors scampered into view,
wearing archaeological short upper gar
ments, and displaying fully three
fourths of pair of archaeological bare legs each,
distinct shock passed over the theater It's
effects were Immediately noticeable in the half
averted faces of the ladies' in their involuntary
betrayals of surprise, in their brave attempts to
look comfortable and archaologcally content.
The auxiliary chorus of half hundred men,
feature unknown to the original Greek stage and
introduced here because of the necessity Of Sc
curing big volume of sound to compete with
She orchestral instruments, was arrayed in the
conventional black suit and broad expanse of
shirt bosom. This group of men sat in the front
of the house before the performance began and
probably tended to reassure any who might have
feared for the proprieties. It made the con-
trast all the more marked when the
young gentlemen composing the acting
chorus threw off their ''himatia' and frolicked
manner, their white legs flashing and cleaning
in the light, and their brief upper garments
swaying and vibrating like balet-dancer's
skirts. 1t was some time before the feminine
portion of the audience could accustom itself to
the novel sight But at last archaeological infu-
ance seemed to prevail, and one by one the la
Sies turned one to another and whispered COM
nents and impressions of the performance. in
Hhicn, if appearances are any guide, criticisms
on the archaeological shape of some of the callow
limbs may have had part There is no ques-
ton that many of the spectators, brought face to
face thus unexpectedly with real leg show.
ielt genuine discomfort; but the behavior was ex-
cellent under the trying circumstances, and the
proper reward.
It vas somewhat different at Harvard, FIVE or
six years ago. It was the first attempt to pro
duce q Greek drama in this country in the orig
inal language and style. A whole academic
year and thousands of dollars were spent in the
preparation; the highest talent in the country
was engaged in the several departments to
make sure that all details should be as exact and
realistic as possible. One day. at a rehearsal in
Sanders Theater, the question of costumes came
up for informal discussion. A part of the gar
ments were on hand that day, and it was noticed
by some of the young gentlemen, who had per
haps learned their points from playing ''supe" at
8he Boston Theater, that there were no tights.
Prof. John William White, who stood by,
smiled sweetly but made no reply. for in his
archaeological simplicity it had never occurred
to him that anybody would expect tights in
Greek drama, least of all the Greek-speaking
actors themselves.
us it possible that we are not to have tiehts?"
exclaimed Mr.. George Riddle, the elocutionist
who eventually made great hit in the role of
Edipus. Mr. Riddle FIVE minutes before had
been informed that no medal. coin or statue had
ever been discovered on which d Greek of the
time of Percles wore mustache without full
beard, and therefore his elegant facial ornament
must come off. He had submitted to the sacri-
fee, but the thought of playing in bare legs
overcame him. In answer to his question
Professor White said:
'Of course not! The Greeks did not wear
tights, did they, Professor2n addressing William
W. Goodwin, the head of the Greek department.
The whitehaired scholar agreed with his col
league, and thereupon lively debate ensued.
Prof John K Paine, the composer. who with
other professors named, constituted the commit
tee in charge of the enterprise, seemed inclined
to defend tights, but as he had already bruised
the archaeological hearts of his associates
On the committee by insisting that the music
should not be confined to the narrow limits of
ne ancient Greek style, he could not with good
Craze oppose them with vigor in this matter
The students, as rule, rather welcomed the
idea of bare legs, and Mr.. Riddle made no very
strenuous objection, merely asserting that it
seemed cleaner to play in tights The last
half dozen rehearsals were in full Dress each
time in the presence of three hundred to two
thousand people. They passed off with great
eciat anu no nurlnur OF ulsseuL Win respect TO
the baroness of the legs was heard. The play
was picturesque, tragic. and historically correct
But, bear in mind, the ladies present at the re-
hearsals were in one way and another associated
with the professors, with scholars and students,
ladies.wholiyed in an atmosphere of archaeology,
who, for months, had heard Greek, seen Greek,
talked Greek and dreamed Greek. When
the first public performance was given the audi
ence included good proportion of ladies who
had never read line of Greek and who were I'M
prepared for the intense realism of bare legs
The result was propriety storm behind the
scenes-not of the lheater, but of several house
holds-and before the next performance was
given full set of tights had been ordered from
Boston cOstumer They were wonderful and