Sacramento daily record-union. [volume] (Sacramento [Calif.]) 1875-1891, 1889-10-20
MUSIC AND DRAMA.
APPEARANCE OF ACTORS ON AND
OFF THE STAGE.
English variety Shows"-Funny Things
on the Stage-The Prettiest Par
isian Actress-Notes.

Rosalind May, the regular New York
correspondent of the SUNDAY UNION, writ
ing under date of October 18th, says:
"The week has been notably interesting.
First, and most important, came the intro
duction to an American audience of Mr..
and Mrs. Kendall, whose reputation was
long ago established in London. With
such prestige, but small powers of fprophecy
were needful TO predict welcome, but
whether they might kindle enthusiasm
was not a foregone conclusion. The latter,
indeed, was scarcely true, but that they
won deserved and positive success, is
equally manifest Mr.. Kendall, as Prosper
Couramont Changed in the present YER
sion to Colonel Blake is hardly the peer
of Lester Wallack, although the self-con-
sciousness which pursued the American
actor was pleasurably absent. Delicate
touches given by Mr.. Wallack, however,
were notably wanting; it was an intelligent
but hardly creation, while
Mrs. Kendall, though captivating Susan,
by no means excelled the memory Of Mrs.
Hoey in the part, although investing it
with more refinement than Rose Coghlan,
in later years. Mrs. Kendall, indeed, is a
captivating woman, as yet youthful almost
in appearance as when, in the bloom of
her gin lhood, she divided honors with the
elder Sothern in David Garrick.' As the
result, therefore, of ripe experience, grated
upon a sympathetic nature, her acting was
skillful and constantly varied, yet imbued
always with that spontaneity which is the
highest charm in every walk of art, and
which nothing can replace. Her voice is
agreeable and well modulated, and her
face capable of expressing quick transi-
tions from one emotion to another. The
support is excellent and really quite be-
yond average, the most prominent mem
bers being Mr.. Wenman, as the jealous
husband; J. E. Dodson, as the old natural
ist, and Miss Violet Vanbrugh (quite
young beauty, as the suspected wife. On
the same night
In his new piece, The Seven Ages drew
packed house to the Standard Theater.
Nobody, of course, expected anything like
a plot or concerted action, nor was any
body surprised by either. Everybody,
however, expected to see pretty girls and
amusing performances by Dixey, and their
expectations were fulfilled in both respects.
The girls are extremely pretty, and the
entire piece devised for successive exhi-
bition of the unique actor in varied and
most opposite limitations. His first ap-
pearance as baby was laughable, of course,
and throughout the seven ages of man he
provoked repeated applause and mirthful
outbursts. To persons of refined instincts,
play on Shakespeare's immortal lines
must seem sacrilegiOus, as surely 1t is, but
managers believe that money must be
made, and however one may feel in the
solitude of ones library, yet in the midst
of an amused crowd one inevitably follows
the multitude, and laughs likewise. The
man, moreover, who can elicit laughter
is not man to be lightly esteemed. His
vocation in the world is a life-giying one,
and he who can make us forget care, if
only for few hours, has done much for
final oblivion, or at least better endur-
ance. Another successful event this week
has been the debut of
WILLIAM TERRIss AND MISS MILwARD
In Roger La Honte' at Niblo's. The
adaptation is extremely creditable to Mr..
DAILY, and excited unusual interest both
among managers and the public, many of
whom went for the occasion much farther
down town than is their custom. The
play has strong situations, but depends for
its triumph on the climax in the third act,
and its fate was doubtful until that time,
when evidences of approval were unmis-
taxable and hearty and its future good
fortune made sure. In London it has
proved great hit. The Festival of Song
at the Metropolitan Opera House has been
quite strong card for Van der Stucken,
who, as the reward of great labor, won high
praise from critics and musicians for skill
ful management of the different societies
from neighboring cities. All eyes now are
turned to Salvini's appearance at Palmer's
Theater, to be succeeded next week by
Booth and Modjeska at the Broadway"
ACTORS ON AND OFF THE STAGE.
"The footlights' glare will sometimes
change familiar face into an unknown
one," said a theatrical agent the other day.
" was ten years in the business before |
became accustomed to the difference in the
appearance of actors on and off the stage.
| have seen men stop on the street as If
rooted to the spot when well-known ac-
tress passed by. 1t wasn't admiration or
it was plain, unadulterated
and it isn't to be wondered at,
in great many cases, when you take into
the absence of makeup
and the difference in the lights. The sun
shines on the features and throws the sha-
dows downward, while the footlights throw
such a glare upward that the makeup
is required to counteract the unnatural
shadows thus formed"
There are some actors and actresses who
look fully as well of the stage as on.
There is @Billy" Florence, for instance.
His figure is rather stocky and heavy in
street clothes, but his magnificent profile,
clear eye and ruddy color and white teeth
make his face even more agreeable off the
stage. As you see him in the lobby of the
Fifth Avenue Hotel he looks much more
like well-to-do broker than the popular
actor that he is.
Maurice Barrymore is another example.
He has an easy manner and a good,
healthy color. He is a very well fed spe-
cimen of humanity and is just as at
tractive on Broadway as behind the foot
lights.
Lillian Russell looks better in house
dress than in her stage clothes, that is, to
those who admire her for her pretty face.
Ada Rehan, on the contrary, appears like
a very ordinary person on the street,
while her stage presence is captivating
and charming.
Rose Coghlan is handsome woman on
the stage, but few who meet her on Broad
way would recognize her. Mary Ander
son might walk Broadway for hours and
no one would look at her second time,
unless told who she was.
Minnie Palmer is piquant little body
both on and off the stage. She looks, of
course, trihe older in her ordinary raj
ment than in a short stage costume.
Annie Pixley, on the street, looks like
the mother of the Annie Pixley we see in
''The Deacon's Daughter" Marie Jansen
looks more matronly on Broadway than on
the stage. Marion Manola would never
be recognized on the street as the sweet
singer she is on the stage. She looks very
much smaller. Flora Walsh is the same
coy little woman both at home and on
the boards. Annie Russell and Isabelle
Eyerson are two women who are never
recognized on the street by the ordinary
theater-goer-