Sacramento daily record-union. [volume] (Sacramento [Calif.]) 1875-1891, 1890-02-09
MUSIC AND DRAMH.
ROsALIND MAYS REVIEW OF AMUsE
MENTs IN NEW YORK CITY.
Love Making on the stage-Nat Good
wins Ambition General
Stage Notes.

i mIlleS do lOllONS III ISSdt4u W aihuocuuCHt
in the metropolis:
'Has Alvary, the picturesque, been re
| placed in German opera /? Walls which
re-echo Herr VogPs worn tones, behold
ers who look in vain for the absent singer:
romantic presence, answer in the negative
| \ negative reply will reverberate until the
seasons close; admirers watt sighs across
the ocean; bewailing winds bear them
back again, and nightly the sad fact will
more and more impress itself on New
York's public that their favorite and
twenty-times- in-one-eyening-recalled tenor
is elsewhere. Kalisch, who, gossip says, a
| wifely fondness expected to accomplish
| the impossible task of staring for Alyary
may be set down on the harmless list, and
it is generally conceded now that whatever
| VogPs voice might have been, it must for
| the present be classed among the might
haye-beens or mights-have-been. know
not which phrase is most correct, and
leave it for grammarians to determine. The
ladies, too, like to look at handsome
| tenor, and no one accuses the latest arrival
of good looks. Perotti's deficiencies, minus
| the high note, are patent. Like lone
| star, Fischer looms up among the bassi
Reichman redeems the baritone parts
Except Lehman, the sopranos are def
cient, while the contralto list may be set
down as vile, the task of listening to the
most prominent member being indeed a
task.
"From halting opera, then, lovers OF
music turn to the weekly concerts now
given by Thomas at the Lenox Lyceum,
or to the occasional visits Of the Boston
Orchestra, under the leadership of Nikisch,
the emotional conductor who scorns
beaten tracks and imbues all with indi-
vidual fire or pathos. His second concert
was finely attended, although the attrac-
tions of DAlbert and Sarasate at the Met
ropolitan Opera House was strong temp
tation in an opposite direction.
"'The Corsican Brothers, MantePs new
piece, has been largely attended at the
Fourteenth-street Theater. The famous
play is very well put on the stage, and,
apart from a central figure of a parsonage
now set down as the romantic actor is in
teresting because of weird scenic effects,
and also attractive ballet and pantomine
performances. The latter are highly
amusing, and evidently win appreciation.
Opposition has come chiefly from Crane as
The Senator over at the Star. Very
crowded houses have been the rule, and in
every way the lone actor has reason to be
satisfied with his reception.
"Julia Marlowe, at the Fifth-avenue
Theatre, has not as yet produced the ex-
pected sensation, and intelligent critics
think she has not progressed since short
visit two years ago. What may be de-
veloped during a prolonged engagement
remains to be seen, but at present there is
often chilly stiffness at the box-ofice.
"Elsie Leslie, in The Prince and the
Pauper,' at the Broadway Theatre, is draw
ing packed houses, and both the little girl
and the play deserve a more extended
notice, which will shortly be given"
NAT GooDwIN's AMBITION.
During a conversation with Nat Good
win a short time ago, speaking of his new
departure in acting, he said; "My friends
have been telling me for long time that
| was a success in farce-comedy, and from
the results achieved L have been forced to
believe it, but what does such business
amount to? A man whose fun-making de-
pends on broad effects, 'mugging,' 'gagglng'
and the monkey shines, is, taking it all in
all, but little better than a monkey, so far
as intelligence goes. He excites laughter,
but it is of similar kind to that which
baboon would stir up. There is no depth
to it, nothing that appeals to the intelli-
gence or real humor of man, and when
the play is over he says; We'll, Goodwin
was funny, but what rot.'
Eyes, have made success in farcial
'skits,' but l am tired of that kind of thing.
1t is nothing but variety business dIgni-
fed by the name of comedy. l did my
best while in that line; tried to accomp-
lish more than my fellows; but now 1 find
lot of newcomers who follow in my old
time methods and who can do the work as
well or better than l could have been
fortunate and made money out of it, but /
am willing to spend it all, and more if
needs be, to put myself on a higher plane,
where my aspirations have always been,
and where the many have told me ought
to stand.
Recently if player sings a catchy,
topical song, he at once seeks to have
play written around it, and calls it farce
comedy | am out and away from that
kind of thing for the future, and l am
going to stand or fall by my work in this
new line. If do not succeed it will not
be through lack of application and effort
on my part. l am determined to win sue
cess in legitimate comedy. My recent
efforts have received the encomiums of the
critics in New York, Chicago and else
where. Aside from "A Gold Nine l have
purchased several new pieces, including
the latest written by Steele Mackaye, for
which l paid the largest price that has
ever been paid to an American author.
This comedy, called Colonel Tom, will be
given the last week of my engagement at
the fremont / also have The Nominee
new piece in which | have great con-
fidence. This / shall very shortly pre-
sent, having it now in rehearsal. Each of
these plays is full ofheart interest; pathes
alternates with humor, and fine senti-
ment prevails throughout. There is an
abundance of laughter created during
these plays, but all of it is excited in a
purely legitimate way.
Gas said before, / am through with So
called horse play and broad effects OF
course you have heard of the business that
"A Gold Mine has attracted. have
never in my life known any play to be
more enthusiastically received"
LovE-MAKING on THE STAGE.
II girl is pretty, weak, and vain, and
some man says to her, 81 love you," those
magical words will, as long as the world
goes round, turn the heads of some girls
and have no effect upon others. ! do not
care whether they are sitting behind the
scenes in theater, in a drawing-room, in
n ballroom, in clearinghouse parlor, or
anywhere else, the words will take effect
or not, according to the ground they are
thrown upon. They may be said to an
unresponsive ear and an unresponsive
heart, or they may be said to an ear, a
heart, a soul that are responsive. 1t would
! depend entirely upon the impression on
the girls heart at the moment whether
any echo Of the words reyerberated in her
soul. 1t does not signify whers thess
words are spoken. 1t is the magic sympar
thy of one life with another that decides
their influence.
Consider too, what loye-making on th'
stage really means. A young girl come
| into theater to play ingenss parts Sh'
stands in the wing ready to be called upor
the stage, and she sees a nan and a woman
making love. The man says, Dearest, Fl.
With me-" The woman says, II dare not.