Los Angeles herald., 1890-11-10

Madame Pattl'e gOOQ nature returned,
and she went off with Nicolini laughing.
The photographers don't bother her
now.
The New York News says of a come
dian well-known here, and who died re-
Gently:
A report was in circulation yesterday
that George S. Knight, the dialect come
dian, had died in the retreat for the in
sane. in which he had been placed some
months ago. Mr.. Knight, whose real
name was George Sloan, was about for
ty-fve years of age.
Before he was twenty be was on the
variety stage, and, whether as Dutch
dialect actor, wooden-shoe dancer, or
minstrel, he had for seven or eight years
class in his speciality. When he went
into comedy he was equally successful.
He first appeared as gsstar in Woods
Museum, now Daly's theatre, in play
called Otho, written for him by the late
Fred Marsden. His make-ups were un-
commonly clever. His travesty of Gen
eral Butler in Eyangeline will long be
remembered as a most skillful piece of
facial imitation. He began to star in
1877, and until he bought Baron Ru-
dolph from Bronson Howard, he was a
rich, contented, and apparently prom
ising player. Yet he lost all he pos
sessed in his second endeavor to make
Baron Rudolph popular. and his illness
dates from the failure of that play.
For time he played in Over the
Garden Wall, but his heart was not in
the work, and he sighed and pined over
Baron Rudolph. 1t is reported that he
thought so much OF the piece that he
had SIS 900 picture painted of himself
in that character. Last winter num-
ber OF his friends organized benefit to
raise funds for his relief. 1t was given
at the Biiou theater, and quite a neat
little sum was realized. Mr.. Knight was
married to Sophie Worrell, the eldest
OF the celebrated Worrell sisters, Sophie,
Irene and Jennie, about whom young
New York ragged some twenty years ago.
There are some persons who profess
to see in the swaying, dreamy and swan
like motions OF Carmencita suggestive
ness which is highly improper, although
the woman never reveals more than the
instep of her foot. But those who find
such suggestion in this dancing are the
very persons who have discovered i'm
propriety in Longfellow's "Ship Of
State" The new dancer, Otero, is a
most fascinating object in. her deliciously
modulated contortions, and her move
ment over the stage is truly to be de-
scribed as rhythmic and harmonious
as one of the complicated and involuted
chords in Wagner's harmony. The mo-
ton can no more be described than the
melody of song or the harmony of a
chord. 1t appeals to the emotions
through the eye precisely as music ap-
peals to the ear.
covered by all of the dancers them
sympathy which exists between the
which supplements and directs these
movements, but that there are certain
musical sounds and vibrations which
seem by some occult law involuntarily
to produce certain corresponding mo-
tions in dancer. For instance, the
graceful upward thrust which Amelia
| Glover delivers she cannot accomplish
unless certain chord or combination OF
chords accompany it in the orchestra.
And this same popularity was discov-
| cred by the musical director who PLAYED
| for the Gaiety girls. 1t isn't matter OF
| time or rhythm, but seems to be GER
| tain correlation between certain musical
vibrations and rhythmic movements of
the muscles of the body. Carmencita
and Otero can both dance without an
orchestra, but not 80 well and not the
same dance which they would give if
the orchestra were playing, and even
when they do dance without musical
accompaniment they hum to them
| selves.
A singular illustration of this effect is
found in the dance of one of the Levey
sisters. When winding up the dance as
one of the demure schoolgirls, this
young woman gives peculiar and
twitching shake OF her foot which causes
smile and yet pleases the eye enor-
mously. 1t is precisely the movement
which would be indicated in musical
writing by the sign called shake, and
in fact it is necessary for the orchestra
to produce this sound, or the girl cannot
go through the motion. 1t is something
which she never learned, but is done
involuntarlly.
All these exponents of the dramatic
toe and heel receive salaries we'll worth
working hard to get, and well they may
they have only few years to earn it,
for the agile dancer is bound, sooner OF
later, to get stout. Even Taglioni had
to stop when she was still young, and
passed her old age in nursing bank
account and in dwelling in memory OF
her youthful terpsichorean triumphs.
The husband of Miss Sybil Johnstone,
besides being devoted spouse is an in
dustrial worker at the loom, and while
his pretty wife paralyzed New York in
L'affaire Clemenceau, he faithfully kept
on weaving his rag carpets with a calm
confidence born of love. One of his
shrewd customers on the Bowerv caught
on to the fact, and while the play was
being done at the Standard, labeled his
carpets
| BEAUTIFUL CARPETS.
SPECIALLY WOVEN BY sIBYL JoIiNsTONE' S
| HUsBAND-DIRT CHEAP.
Two tickets to see Miss Johnstone
presented to every one buying a carpet
1t is thus art and industry walk arm
in arm.
Marcus Mayer has a fve-year con-
tract to manage Fanny Davenport. He
will begin with the Cleopatra produc
tion in New York this winter.
And now it is said that Mrs. James
G. Blaine, Jr, will join the Kendall com
pany at the end of their American tour.
The MenlO.
This elegant house has changed hands; beer
1