Sacramento daily record-union. [volume] (Sacramento [Calif.]) 1875-1891, 1889-12-08
MUSIG AND DRAHl.
PROMINENT ENTERTAINMENTS IN NEW
YORK AT PREsENf.
Real Tears on the Stage-Familiarity with
Actors-Booth and Modjeska-
Footlight Flashes.

Rosalind May, the regular New York
correspondent of the SUNDAY UNION,
writes as follows in regard to theatricals in
the metropolis:
Rare opportunities have been afforded
students of music and amateurs as well, by
the performances of D'Albert upon the
piano and Sarasate on the violin. Each
concert given by the great virtuosos has
packed the house, while the first rehearsal
and concert of the Symphony Society was
invested with more than ordinary pres
tige by DAlberts playing, attractive and
fashionable as are the performances of that
well-known body. They fill indeed high
place in public esteem, are largely patron
lied and boon TO numerous patrons. The
joint appearance of the two renowned
artists just mentioned signifies much more
than SO many hours enjoyment to so many
genius commands. 1t means an education
Of the people at large; an advancement Of
art. At the Opera, it is notorious that
many go not so much for the opera as to
see who else may be there; TO study dress
and show their own, make memoranda of
Jewels, gossip with friends and have an
amusing time generally. Performances on
the stage are occasionally subordinate to
those in the boxes. At high class concerts,
like those Just mentioned, the audiences
are frequently equal in wealth, but they
are more refined in taste and go 10 listen.
Nothing else, however, can supply the
place of opera, and this week becomes not
able as the opening one, the initial work
having been "The Flying Dutchman."
"THE CHARITY BALL"
At the Lyceum Theater has given general
satisfaction, and justly so. Mr.. Frohman,
with his usual taste and liberality, has set
the piece beautifully and with entire ap-
propriateneSs. The scenery is changeable,
always an agreeable element; the company
with one exception, admirable; the play
both interesting and amusing, and last but
not least, of such excellent moral tone that
the clergy might all attend, not only with
negative innocence but positive benefit.
The scenes indeed are clerical, the inner
view of parsonage being leading one,
while almost as a central figure appears a
rector, whose devotion to duty may well
serve as an example. The fun is quite
equal to the pathos, and the two are COM
bined with much skill, and did limits per-
nit, l should gladly dwell upon the excel
lent impersonations of Herbert Kelsey, the
rector; Nelson Wheatcroft, w. j. L.
van. They are all well cast, and their
names synonymous with good work. The
play Is in for long run, and for prolonged
success elsewhere.
No better evidence of German strength
here can be given than the liberal support
accorded
AMBERG's HANDSOME THEATER,
On Irving place and Fifteenth street. 1t
is nightly patronized, not only by wealthy
class who delight in listening to perform
ances in their native tongue, but by trav-
eled Americans of culture, or those who,
having spent years of study in Germany,
have become Germanized to considerable
degre. Managed on European principles,
long runs are not allowed. Changes occur
constantly, thus insuring perpetual nov
city, while as an additional element comes
in the presentation of opera, which, though
necessarily on a smaller scale than at the
Metropolitan, affords pleasure because
thoroughly well done. Persons ignorant
of German have gone to see Possart as
Shylock, and while some critics have
placed him beyond Booth, all must ac-
knowledge him the equal of the American
actor in that difficult impersonation. Pos
sart has one advantage over Booth, and it
is an aquiline nose, which renders his
countenance absolutely Jewish. 1t is in
teresting to note minor differences in the
Interpretation of the same character by
artists equally great, and it seems to me
that the scales hang so evenly that prefer
ence becomes impossible. There is general
regret that the engagement of
BOOTH AND MoDJEsKA,
At the Broadway, is drawing to a close.
They become more endeared to the public
as the time for departure approaches, and
their absence will cause a feeling even of
loneliness This week there is frequent
change of bill, and as an engagement of
Booth could hardly be accomplished
minus "The FOOLS Revenge" he plays
that part several times. 1t is essentially
his, and without dissent he is rated unap-
proachable in it. There being no part
for Nine. Modjeska, she appears as Donna
Diana, in which she is, of course, excel
lent.
REAL TEARS ON THE STAGE.
Mrs. Kendall takes a lively interest in
the discussion regarding real tears on the
stage, and recently, after the controversy
between Henry Irving and Constant
Couuelin had been made a subject of
social conversation, she went to her apart
ments and wrote little essay embodying
her views of the province of the heart in
guiding the art work of the actor. The
essay is here reproduced:
cart is long, and time is feeting.' Art
when applied to acting cannot 90 far un-
less two letters are added, but art and heart
combined 90 far indeed. The one without
the other, putting which you like first,
must falter and eventually STOP but put
the race. Art alone is fine sometimes, but
add the two letters and it becomes great.
Art alone is cold and unconvincing, heart
By itself will sometimes overpower the
voice and become too powerful, but these
sisters, these twin sisters, when arm in
arm, lovingly clinsing one to another,
neither stepping out of place, embrace all
other attributes, and carry the world with
them.
"This is the secret of success in acting.
Beauty, charm and facination of voice and
manner may do much, but it is tae heart
alone that can convince, and, strange to
say, the one word is actually inside the
other. Once having learned to understand
these two words, we can appreciate the
great poets meaning, Art is long and can
even smile and smile again at the con-
clusien of his line, time is feeting,' for
though women cannot learn to acknowl-
edge it, time comes when the gentleman
with the wings, Mr.. Cupid, flies away and
the gentleman with the scythe, Mr.. Time,
is more than anxious to have the pleasure
of our acquaintance. Still, with the twin
sisters | have spoken OF, one either side,
the JOY and pleasure of great artist go
on while life's career continues.
"'work as IL thou hadst to live for ayel
Worship as IL thou hadst to-day to die ?"
FAMILIARITY WITH ACTORS.
Theatergoers are quite apt to speak of
actors whom they ike in very familiar
way, and this is true particularly asregards
comedians and leading men. One very