The morning call. [volume] (San Francisco [Calif.]) 1878-1895, 1890-10-19

When Manager Dave Henderson makes
lis second spectacular coup at the Grand
Opera House in this city next year 1t viii he
with babes in the Wood" two characters,
according TO the record, in an ancient and
wel-known ballad entitled The Children
in the Wood, or the Norfolk Gent Last
VIII and Testament" and which is thought
by some TO be a disguised recital OF the
alleged murders of the Princes in the tower
bv their uncle, Richard Ill. 1t is certain
that the ballad corresponds essentially with
the narrative CT the chroniclers. Addison
referring to it says it is 'one of the darling
songs Of the common people, and the delight
of most Englishmen at some palt of their
age" The latter part of this quotation eX-
plains the plane on which Henderson works
in his show methods. He does not get away
from the average-brained public, who pre-
fer the pleasure Of the eye to information
impaired. He thinks with Sleary, the lisp
ing circus man, when he told Grandgrind
that THE people muth be amuthed." That
is all asked for, it would seem. The stage
has ceased to be either an instructor OF an
elevator. The legitimate is neglected, uu-
less its opponents be fashionable, and
crushed tragedians' are increasing in num-
ber Meanwhile, farcc-comedy fourishes,
and Manager Henderson takes, in four
weeks, by his judieious catering to the pub
lie taste in The elegant setting Of nursery
fairy story, $4,000 Vive la bagatelle!
Motley is your only wear" said JaqueS,
after he had net the fool i'll the forest.
THE STILL ALARM"
And Harry Lacy, Joe Arthur's fortunate
play and best actor, have crowded the New
California all the week to watch the dash
of STEAMER" from an engine-house, when
tie same effect is visible in actual life every
day On our principal streets. Here is an
other instance of finding profit in playing
it low down." and not giving your audience
credit for too much intelligence. Outside of
the steam engine and the horses there is
really nothing in the drama. Lacy
poses as love-sick fireman. AS is usu-
ally the case in this complaint the
subject Of II IS not at any time
an agreeable companion. When 1t attacks
a fire-laGdie the victim is in the nature OF
an anomaly-a ire-extingulsher by profess
sion. but who cannot put out the tgurative
flame that burns in his own breast. 1t is
Just as well to laugh at these plays, because
none Of them rises above the level OF Joke,
the joke being that after all the toll and
trouble taken by an intelligent and con-
scientiOus writer to produce something
worthy of himself and the appreciation OF
the public to ind how very little the many
headed monster will be satisfied with, and
how Literally viii he pay for It.
THE TRIP TO CHINATOWN"
Ends with tonight at the Bush. and Man
ager Charles II. Hoyt goes due East to look
after his Texas Steer" and prevent it
taking a fit OF the blud-staggers by neg
lect The mass of critical opinion is
10 the effect that this steer " play-wbich
in lis nature is Yell-conceived and we'll
constructed political satITe-is the supreme
effort Of MI. H0yt's dramatic life, thus far
that it has lifted the writer to a height above
farce-c0medy, and points him to still higher
ana brighter attitudes in stage-literature be-
yond. So mote it be! When he goes up
higher he VIII look back with surprise
that he. ever issued "a Trip to
Chinatown to the public With
serious purpose of making it a permanent
success-a laurel leaf, SO to speak, in the
farce-comedy chaplet that now binds his
youthful brow. Notwithstanding its trivial
ties, however, which rank 1t with the other
two mentioned above, and which show the
financial judgment of the author, The
Trip" has had a most successful fortnight,
even while the management were contending
against unlooked-for' friction in the working
Of their acting machinery. Hoyfs name, as
We have before remarked, is potent with the
public against minor professional draw backs.
Nothing can make him rue, if to himself
lie prove but true"