Evening journal. [volume] (Wilmington, Del.) 1888-1932, 1890-01-13

ANECDOTES OF ACTORS OF TWENTY
ODD YEARS AGO.

die Franchise, has just published a volume to
which, with questionable TASTE he has given
the punning title "On the Borders Of the
Scenen tSeine), the French word ''scene" be-
ing pronounced exactly like the name Of the
river. Like most Of the works written by
famous actors, 1t is rather disappointing.
Yet it contains some curious anecdotes. He
tells, for instance, how the manager Of the
Theatre de Ia Gate, when "Henry III and
His Court was TO be revived at that house
in 1856, remarked proudly, II have just
ruined myself for the costumes and furniture
and accessories; they win cost me at least
s., 200.n "That sum- continued Febvre,
'srepresents about what was paid for my cos
tunes, armor aud arms in the role Of the
Due de Guise when that piece was mounted
at the Coincide Franchise in 1889"
ALL WE'RE ZEN vEDETTEp
He also cites a superb remark made by
Frederic Lemaitre when Henry IIIn was
given at the Gate All the leading perform
ers demanded the privilege Of having their
names zen vedette,n that is to say, at the
head Of the programme, and in letters larger
than the type allotted 70 the rest. In his em-
barassment Hostein consulted Lemaitre as to
what he should do. "Put everybody zen ve-
dette,' responded Iemaitre, land stick me
IN with the rest The public will find me out
at the performance So the entire cast was
published with the names arranged in the
form Of horseshoe.
NJ Febvre quotes the following remark Of
Jalma. which was told him by one Of the
sons of the tragedian. One evening, in his
dressing room, Talma had just put on the
costume Of Manlius. After having cast a
long glance ON the draperies Of his toga, he
said TO his son, "Therel half Of my part is
played Which proves the extreme import
ance attached by the celebrated tragedian to
the details Of his dress Melingue, who was
widely famed as a melodramatic actor, and
who created several Of the leading roles in
the principal pieces Of the elder Dumas, was
also noted for the carefully studied details of
his costume. Tho artistic draping Of his
classic robes rather worried the tragedians Of
the Rue Richelieu.
Il remember one day. says Febvre, 1--WE
were playing two Circassian chiefs IN the
'Schamyr Of Paul Meurice at the Porte St
Martin. Meliugue was accustomed TO come
to the theatre at 4 o'clock, though the per-
Torrance did not begin till half past 2. On
passing before his dressing room / noticed
that he was very busy. entered, and was
struck dumb with amazement. He was shaw
ing his legs from the knee TO the ankle, as a
man shayes his chin. Then, this operation
finished, he painted his legs as he had painted
his face, and put on 10 habouohes. As may
be imagined no tights, however fine, could
have given result similar to that obtained
by this novel process.
'Yet, in trying to be too accurate the ac-
tor may more easily attain the come side q
the well known phrase "a picture stepped
from It's frame OF this ! win give two ex-
amples. In the drama Of oliver Basselini at
the Theatre de Ia Renaissance, Adolphe Ber
ton was to play King Charles VII In his
love Of accuracy the actor had borrowed from
the Museum of Artillery a real hemlet Of the
period Had It become rusty during its long
sojourn in the midst Of all that historical
ironwnre, or did IL possess hidden spring Of
which the actor knew nothingi At allevents,
in the midst Of the most thrilling scene of the
drama, the vizor suddenly fell and Berton,
in spite Of oil his efforts, could not raise it
again. So he was forced to finish the piece
in that unpleasant predicament, and Charles
VII anticipated the legend Of the Iron Mask.
Febvre gives an amusing instance Of con-
seriousness in costume on the part of an actor
called Brunei. In a comedy called "a House
as "A Lottery Prize, he played the role of
landlord, who spoke on the other side Of the
wall, and in consequence was unseen by the
audience. Nevertheless every evening Brunei
dressed himself carefully, even 20 the wig and
spectacles The manager remarked to him
one evening that he took great deal Of use
less trouble, since none Of the spectators could
judge Of the correctness Of his costume "No,
no IL isnot useless, answered Brunet "With
the dress Of the landlord assume his bear
ing, and with his bearing his voice. Besides,
suppose the wall were 10 fallln
Febvre also notes the fact that certain styles
Of dress are only suitable for certain kinds Of
plays He remarks, for instance that the
Louis XIV costume is seldom employed for
tragic dramas, but is perfectly suited for
comedy, as are also those of the Regency and
OF Louis XIV. The Middle Ages and the
reign Of Louis XIII are the most appropri-
ate for the "cloak and sword dramas" The
Louis XVI costume is reserved for calm and
discreet plays, which cause more drawing
forth OF handkerchiefs ON the part Of the
spectators than of swords among the ac-
tors A costume often employed in dramas
Of demi-tone and always with success Is
that Of the First Empire. The hardest of all
costumes for the actor to wear is, without
contradiction, that Of the reign Of Louis XIV.
The embroidered coat, satin hreeches and
high heeled shoes demand in the wearing a
peculiar ease Of manner and bearing.
COMMENTS on SPECTATORS
Febvre gives some amusing instances Of the
lack OF comprehension manifested BY specta-
tors, certainly Of average intelligence, con-
corning the plots and incidents Of plays that
they have witnessed He once gave young
servant Of bis own tickets Of admission to 60
see "The Courier OF I.yonsn He asked him
the next day II he thought that Lesurques
was guilty or innocent "Of course he was
guilty, monsieur was the answer, ''as the
two men we're only the same one disguised.
Then in ''The Children's Doctor by Den
merry, when il was represented at the Gate
theatre, Febvre played the part OF the lover
OF the piece, young officer who only appears
IN the second and fifth acts. There was also
the role OF young mother whose death took
/ place early in the action. In the last act the
heroine was supposed TO be dying, and her
lover, forcing his way into her room, cried
vehemently, "Letme pass--let me passi Alive
or dead, must see herT The girl revives,
and the curtain fell on the happiest kind OF
denouement, namely, the approaching mar
riage Of youthful pair. One evening after
the play, Febvre and several Of his conpan-
ions went TO the cafe of the theatre TO take
some refreshments. Near the table at which
they had placed themselves sat a party of old
clothes dealers from the Temple, who had
been present at the performance, and who
were discussing the piece and the actors.
One Of them, stout old woman, whose
Redeemed eyes showed how much she had EN-
jo5ed the play, remarked. There was one
scene that liked immensely; it was that at
the end, where the mother disguises herself
As an officer to get to see her dying dauph.
ter Il was in that way she had compre-
blended the sudden entrance Of the soldier