The morning call., 1891-10-27
THE THEATERS.
Fanny Davenport Appears as
Cleopatra Tonight.
Production of Cavalleria Rusticana"-s Sim
bad at the Grand-Fowers at the Cali
fornia-Lillian Lewis
Daxennnrt Tn-Nieht.


The great dramatic event OF the time will
take place at date in the production in En-
glsh of Sardou's grand Egyptian play at
the Baldwin, with such surrounding as
has been seldom seen on an American
stage. Some idea OF Fanny Davenports in
defatigabe industry in producing a play
like cleopatra" may be gathered from an
interview lately held with her upon the
subject. My work, she says, really be-
gins with the selection of the play itself,
and my first effort is to thoroughly under
stand and absorb every idea of the
author engrafted in it.; to find the
motive for every action described; In
word, to master the situation perfectly. [
then select my cast to fit the characters, and
the company thus chosen must possess in
dividually the requisites in height, style, etc.,
for the character assigned. The next step
is to identify each member with the part as
signed. Ii the play be an historical one L in
sist upon every member of my company
reading fully the history upon which 1t Is
founded. The accessories, such as costumes,
scenery and properties, must be selected
with care and caution, accuracy and truth
In every detail. Before the production OF
cleopatra" | spent months in visiting the
museums Of Europe wherever Egyptian topics
and effects were stored, and had drawings
of .hese made upon the spot. There is not
an article Of dress or stage property used IN
that play that is not an exact counterpart OF
its Egyptian and Roman model.
LASTLY,
Come the rehearsals, when the characters
are letter perfect in their parts. These, l
insist upon experimenting myself. The
public can never realize the labor of SUPER
intending rehearsals. They see only the
rich mosaic in its completeness and SYM
metry. not the rough pieces of patchwork
necessary to produce the picture. When L
say that | have spent hours in exacting per-
fection in the tone and gesticulation Of
certain passage some idea OF my
exactitude in detail may be gained.
This is not time wasted. Faith
fulness in detail is what constitutes
perfection. This truth 1 learned in child:
hood for | was almost born on the stage, of
professional parents 1t was my play
house and school. l am aware that these
seeming trifles are much neglected nowa-
days Indeed, in very many cases every
thing in play seems sacrificed to the over
weenng vanity of the star, and this readily
accounts for the failure Of so many actors
OF fair ability whose success would other
wise be assured. A strong support, the very
lest that can be obtained, is absolutely ne
cessary to support the principal actor of
any play.
IN MY REHEARsALs
l absolutely demand that every character,
from the greatest to the smallest. must keep
in action consistent with the play. A char
acter on the stage with nothing to do is use
less The Roman soldier in attitude and
bearing must be a Roman soldier ever and
never a supernumerary. Silence must be ex-
pressive; repose, picturesque. Finally come
THE DRESS REHEARsALs,
And the play has evolved from the grub to
the butterfly. The prompter is ready. the
curtain is raised, and then-I read. in a few
hours, the result Of year of labor. Thank
heaven, that result has always been sue
cessful thus far in my career, and the one
moment of the triumph experience amply
repays me for every effort expended. In
that triumph tears will spring unbidden,
and the heart will throb as though bursting.
The emotions of ambition satisfied can never
be described.