Evening star. [volume] (Washington, D.C.) 1854-1972, 1888-01-07

bottom he takes much more stock In them than
he did thirty.nve years ago
"a FACE ANYTHING BUT GAN,
A Light Opera Comedian wishs1s His
Paint and Powder.
HOW HARRY PAuLroS APPKARs AND TALKS OFT THE
srAsk-'GAGGNe" ISN'T ALWAYS TEE THrNs--How
ENGLISH AND AMERICAN AUDIENCES pIfFER--rER-
noRs OF LONDON FIRST NIGHT.
small gentleman In black Prince Albert coat
answered STAR reporters knock on the door OF
an unpretentious room at the Arlington the other
DAY. Tnegentlemans ciean-shaven face, kind and
pleasant but rather serious OF expression his SUBJ
aueo manner, and certain general air Of quiet
dignity, might easily have led 20 the supposition
that ne was clergyman such, however, was not
the case. He was Mr.. Harry Paulton, the English
comedian, who has made 50 many people laugh,
ana laugh immodefately, ct the National Theater
this week. The reporter was at nrst q little pug.
lied at the strong contrast between the self-con-
taaned ana serious-iooking gentleman before him
and the grotesque and laughter-provoking figure
which he had seen the previous night on the stage
A more complete TRANSFORMATION could not wen be
imagined
- few moments conversation however, served to
dlssipate the reporters mild doubts as 10 whether
this could really be Harry Poulton or not As the
comedian became interested the play OF EXPRESSION
on MS mobile face and In his DARK eyes revealed
has been laughing 50 heartily tins week or rather
suggested him, for Nj. Paulton at all times main
associated in the common mind WITH protesssonsi
merry-maker.
oprossD 70 eAeerse.
II have found" he said. as the talk naturally
drifted about to the character OF his own work,
shat I can get quite as much out Of q
part that u worth playing ct eli By PLAYING
4 stralght-that is. without gagging--as / can
they e r nsy g e 70 % S,
With the decline IN light opera IN recent years
ously, think, and while the upper part OF the
house may laugh at the circus business
80 II sns the
as wen as tie more lieitmste COMEDY MED -, nna.
csey tie Same nisst sf.ei hight p they acau. P
respect for your work that they would hardly feel
II l they saw you varying II as your whlms might
laugh on the spur OF the moment"
but isn't this 'gaggtng, about as common in
pretty nesrly so HIM. he sns1e,eo CT,
fact, have 10 confess that when playing at the
Alhsmora, in London, was myself known as the
champion 'gaggist.' There was some excuse for
me there, however, as we were, In a measure de-
pended on 10 build up our own parts. OF late
have reformed, and now keep as close as may be
one member OF company Is allowed TO gag al
The rest would do likewise, and so II soon happens
as heard llght-opera singer say was the case In
performance In which he was engaged that the
author Is entirely eliminated"
THE AUTHOR COMEDIAN
The conversation turning to "Erminie OF which
Mr.. Paulton wrote the hbretto. he continued: .The
change in my views on the 'gagging' question is
author myself and finding out how it feels 10 hear
your lines, which you spent hours In thinking out,
thrown aside for some gag which an actor fakes
up on the spur or the moment. I have no doubt
not little OF the success OF CT bert and Sullyal's
WORKS due 10 the fact that Mr. Gilbert insists on
lioretto being strictly adhered TO by all COM
panies which sing the operas"
o you ,t have played IN 'Eninf yourself, sup
original Cadeau1 and played the part for the FIRST
seven months right after IL was brought out In
England Ihen MADE my frst visit 20 this coun-
Try ana super1ntended the production OF the work
at the New York Casino In May, 1856. No; nave
never played II In this country and wouldn't care
10 90 50 now, as The role OF Cudeau1 has become
so thoroughly identified with Francis Wilson that
fear should be looked upon as a sorry irnposter
! was OF course greatly pleased with Mr.. wilson's
carried out faithfully the ideas OF the part gave
him during our rehearsals, with the exception OF
course OF some effective touches his own droll
nne legitimate comedian"
ENGLISH AND AMERICAN AUDIENCES
''Do you police much difference between Ameri-
can and English sudiences?r the reporter felt
bound TO ask, as it Is question never omitted
'sThe principal difference he said. sis thai
American audiences are much reader 10 help the
people on The stage than English audiences.
Americans are much more sy mpaIhetic and liberal
with applause, md kissing Is almost unknown
here This contrast is especially striking between
London audiences and those IN this country In
the provincial cities OF Great Britain tine audiences
are much less eXacting and cold than in London.
But first night In London is especially terrible
TO actors and singers The London first nighter is
nothing snort or brutal in his logged determina-
ton not TO be pleased II he can possibly help him.
sell In New York it is just the other way, and
even II play or an opera is a Dat failure the
audience good naturedly applaud and seem really
sorry that you haven't succeeded In pleasing
them.
THE LONDON FIRST NIGarER
comes TO the theater bent on making everyone on
the stage feel his power. He seem, TO say TO the
actors: You have undertaken 70 please m, but
Just let me tell you you are going TO have your
hands full TO 90 it. II friends In the audience at
tempt TO give favorite singer or actor a recep-
ton, the nrst-nighter Kisses and yels order, as
much as to say We are going TO nave no favoritsrn
here. This Is 10 be q cod FLOODED butchery, and
all must be butchered alike Any hitch ia the
scenery, any hesitation for lines at once proyoes
a storm or Kisses There is not the least particle
OF sympathy for the artists. The English audience
as rule, seem TO regard the people on the stage
as enemies.
AN ILLUSTRATION.
SHOW different t is In this country Il shown by an
lpclQent Wnlcn napptneu On MONDAY nlgnt. Tnree
fellows who mad evidently had too much New
Years cheer were seated In the rst row OF orches-
ira chairs All through the performance they had
been taking loudly, ana occasionally standing up
and shaking hand with one another. They seemed
TO think they were the only persons in the house.
At last during Mr. Hamilton's solo In the second
act they became so noisy that he told them plainly
to shut UP. Now, in England the whole audience
would have been liable TO resent his remarks In
some way an attempt to infringe their liberties.
But the audience at the National Theater at once
gave the singer their sympathy. applauded vlgor..
ously, and gave the noisy fellows TO understand
that they would have to behave"
Mr. Paulton In closing said he was greatly i'm
pressed with the beauty OF Washington and
delighted with the kindness shown himself here.
Mr.. Pauliop's theatrical career has been an ex-
tended and varied one. He has been on the stage
for twenty years and has played all sorts OF roles
in stock companies in England, as well as playing
In burlesque and light opera He has also been
quite successful as humorous lecturer. In addl-
ton to writing the book OF "Ermne he also wrote
that OF lies Manteaux Noirs," "Mynheer jan"
which was produced In London lass year, and
two or three other operas, which have been pro-
duced in London. Mr.. Duff has q new work by
Mr. Paulton now In preparation for production. and
the Casino has also accepted another opera OF his.
A PECULIAR DINNER PARTY.
How an Official from the West En-