The morning news. [volume] (Savannah, Ga.) 1887-1900, 1891-11-02
KICKING AND JUMPING
Now It's the Lofty Jump Thar New
York Raves Over.

parture from orthodox stage dancing in
New York was introduced by Carmencita.
so the latest in this line is Fougere. who is
the craze OF the hour. New York was as
tonished by Carmencita and Otero and was
equally uuprspared for this new perform
ance so different from theirs. Mile
Fougere may have got her ideas for the
form her activity has taken on the stage
from traditions OF the freside. When
some one remark, There is a rat" feminin-
! ity is supposed 10 gather 10 its skirts and
/ at one bound spring wildly up into the
highest chair. Fsmininity doesn't appear at
ITS best during this action. but Fougere
/ gathers up her skirts aud jumps, and half
! NeW FORK goes OUT Of its way TO see her do
II. The worshipers of Carmenoita in art
and high society have adopted her, jumps
/ and all
Fougere Is q much less exalted fad than
| the beautiful body dancer, but of the two
women OF Spain WHO charmed the hearts of
| New Workers last season shs Is mere nearly
! the type OF Carmencita. She at least re-
| semblss her IN possessing o surprising stock
| OF JOY ous abandon, but Carmencita with
her slnuous movements and supurb poses
| electrified and charmed those who saw her
When Carmencita sank on one knee and let
her supple body fall back, with her arms in
graceful circles above her head it all looked
| so delightfully."- easy that no doubt some
backs were broken in trying if doing it was
as pleasant as it looked to be. Fougere's
influence over her audience is dne to the
sparkle, wildness and vim Of her perform
| ance. The calm audacity OF Oteros pastures
| and the harmonious and sensual charm of
! her dancing are the most extreme contrast to
| the etfervescent and free activity of the
French chanteuse. One feature, however,
or Fougere's appearance on the stage
| seems to indicate that in seeking a sue
| cessor to Carmencita who might surprise
New York as did the Spanish senorita re
lance was not placed i'll action alone, but
to this it was thought necessary TO add some
feature whose eye catching qualities had
been tested elsew here. Paris has thoroughly
approved of the high head dress for the
"chanteuse excentrique," and Fougere
wears fan-shaped arrangement of a fiimv
material frightened with hand-painted
flowers aud tiny spangles that towers to a
| great hight above her head.
| Iheie Is the same scene as OF old at the
| nall where Carmencita danced. Again it
| Is crowded for few minutes every evening
| but the little chanteuse of Marseilles is the
attraction during these few minutes where
three months ago it was the Pearl OF
| Seville. New York never saw ANYTHING
like the wonderful grace of Carmencita and
| surely New York has never seen ANYTHING
| 90 equal the performances OF Fougere.
Imagine an Apache in a setting of petite
| Partisan femininity, and you have at least
one side of the little Marsellian. went TO
see her perform with some feeling that il
was a shame that SO thrilling a sprite should
| be gathering laurels from the very same
bush as did the beautiful Carmencita, ard
| gathering them with apparently almost
equal ease. She came on the stage in a
vision of yellow and spangles Her little
skirt stopped at her knees. The only bit of
| contrasting color in her costume was the
/ dark ostrich feathers that surmounted her
huge fan-shaped headgear. But the face Of
| the chauteuss took the gaze away from her
| lemon-coiored fittings. Jules Cheret mas
made the advertising boards OF Paris artist
cally famous by painting Just such faces,
l with the saucy charm Of the Parsienue
| Carmencita when she began her wonderful
| performances cast a smile down into the
| audience that was radiant and substituting
| Fouger'S smile carried with it the exhilara-
ton or irresistible gavety. IL established at
once the feeling of bon-comraderie. 1t
| rendered debonnaire the little carel SO swag.
| ger that accompanied her cafe concert song
| Mademolselles voice played a very small
| part in her singing. The HOMOGENEOUS cad
ence or the music was stirred to an enchant-
Ing swing by remarkable variety of ges t
ures with her arms and hands
| 'Mademoiselle il not a dancer said her
| manager, ''she is a chanteuse." Perhaps, but
her eyes danced and her fingers danced. She
| had not sung two minutes before the whole
| stage seen ed to he in motion with the tra>
la la-la~le of the music 1t was as if hum
| mingbirds and butterflies were all around
the little singer. 1t was the very cham
payne bubble of motion, but in the midst of
it. reaching the end Of a couplet that had
drawn forth laugh, she- Rrasping the back
Of her skirt with both hands, turned with
reckless swing and strutted up and
down the stage. Conventionality hav-
ing been thus kicked in the face, made
moiselle discarded her head dress, as it alone
remained TO restrain her from complete
surrender TO the fantastic spirit that flashed
from her eyes. WhAt form should her
abandon take? 1t was that which usually
is rendered most awkward. It began with
the kangaroo walk. that atrooity of the
third class variety stage. Then back close
to the footiights, erect, and with hands and
feet immovabe, she swings her hips from
side to side, falling into the cadencs
or the music Sne swaggers about
the stage and with sp arking glance out
or the corners of her eyes, SAYS with a
knocking smie 20, my desrs, lof you"
The words are hardly out of her mouth
when, grabbing her skirts, Fougere leaps
into tho air, ard then. waving her arms,
sac rushes behind the flies with the strides
OF an awkward school girl. She is called
back, OF course. She has huge kew
! AN'AN' E4O hC9 ~ A'AJ
heart she says. and crouch-
ing down on her feet before the foot
lights, she talks few more words Of
broken English. She suddenly springs to
her feet ard with two or three wild whoops
the little figure is up in the air, fully four
feet above the stage, with her feet drawn
up under her small body. 1t is wonder
full jump and she makes it three or four
times in quick succession. Then sDatching
the bouquets from the floor, rushes from
the stage for the last time
Thus outlandish, at least i'll their cata-
logulng, are the nightly performances of the
tiny citizeness of Marseilles, who has sue
ceeded Carmencita as the craze in New
York Her art is shown in the fact that in
all this she is still charming. To appear
arces the chanteuse abandons herself to the
drift of wayward will TO be carried into
auy wildness her vivacious spirits may
suggest. There is the swirl and dash of
the whirlwind about the performance. 1t is
a Moqui dance by person whose body
thrown about as it may be cannot tall into
ungraceful lines. AS to legs. no one thinks
of them. Mademoiselle's supple little finger
in contributing to her animated gestures
attracts more attention.
Carmencita has wriggled for US, Otero
kicked and Fougere jumped. VIII some en-
terprislng manager give us an exhibition of
crawling as the next SURPRISED
|