The morning call. [volume] (San Francisco [Calif.]) 1878-1895, 1891-06-30
THE THEATERS.
MOrrisOn's Mephisto in "Faust' -
at the California.
Bryton's Badger at the Alcazar-" The Bells
of Corneville" at the Tivoli-Business
at the Other Houses.


but limited attendance, owing, no doubt,
to the heated term. The New California,
where a crowd was expected to see Mr.
Lewis Morrison as MephistO in his revised,
renewed and augmented dramatic version
of Goethe's Faust" was, strange to say,
marked by this declension in numbers; but
those were present enjoyed treat and Nor
rison was recalled again and again for the
mastery way in which he presented
the character Of the fend. He has
evidently made closer study of Mephisto
than wien he first essayed him. There is
more consistency in the Interpretation of the
best criticisms of this, one of the seven chief
devils In the old demOn0lOgy. lie Is mock
ing. scoffing, while polite and courteous in
all his dealings with the victims who come
under his Internal influence with inter-
ludes of quiet commentary on the
peculiarities Of human nature, which
likes to err, but desires to saddle some
other cause than natural tendency to do
wrong with the responsibility. He Is an
embodiment of the principle of evil, and 1t
he plays this part much longer, so thor
oughly seems he to be imbued with its dev-
illshnesS, the stimulation may become a
part Of his real nature. In other word S, he
will become a devil of fellow" in the
worst sense of the term. At the same time,
we take exception to his makeup.
1t is too pronounced and outre for
the purpose he has in hand, and
calculated to scare the prey he
wishes to secure. rather than invite
them to his net. His evident purpose is TO
play the devil as gentleman; but his
costume, with its hell-fire color and outre
cut, would lead those whom he approaches
to take alarm at first sight. He ought to
dress in the fashion Of the time. His face
would be sufficiently Mephsto-like for the
audience, and for all the nefariOuS purposes
- ,l-o, -. L..
In sticking to the old operate tradition OF
Mephisto's dress. He has changed the situ-
alton in other respects; he ought TO alter it
in this.
MARGUERITE.
Miss Florence Roberts played Marguerite
in nice form as the peasant girl, repeling
the attentions of Faust as one superior to
her in station, and that therefore, his love
was not honest, till. with the vanity of
a woman, she yielded to the ardor of his at
tack. Even when the amOTOus doctor
thought he had the girl captive. she resorts,
in her country fashion, to the test of the
flower. Pulling the petals asunder, she
says, with each one detached. He
lcves me, he loves me- not" and
when satisfied in the affirmative falls
in his arms perfectly COntented and
happy. Miss Roberts looks the character
OF the German madcbeD," and was made
up very neatly. Her scene with the jewels
these, she showed in that pitifuily weak
way the fOndnesS for display which makes
all woman nature kin. But over all did
she display the passionate power Of the love
that Faust had awakened in her heart.
The acting of this lady was feature in the
cast commensurate. in its way with that Of
Mr.. Morris0n's Mephisto.
THE REST OF THE CAST.
The subjective part of Faust" as per-
SOnated by Mr. W. Il. Owen, was not not
able. 1t never is. But more could have
been made out Of it than was accomplished
by this gentleman. He does not bear him.
self as a cOuTtly man, and he is not an
ardent lever. Martha Miss Carrie Carter,
Marguerite's friend and neghbor. has
great deal of business which she did not ap-
pTehend, and, if she did, failed to meet.
The three students-MeSsrs. Foudray, Saun-
deTSon aud BrOokS-"ao a neat incident; and
we'll rendered. sValentine (Mr. Percy Hunt
ing had no special merit nor had the Siebel
of Mr.. l.. j. Hall.
THE STAGE EFFECTS
Were good The earlier scenes were well
set, and the garden of Marguerite was a
picture that rested and relieved tie eye by
Its beauty. The Witches Carnival at the
Brocken of the Hartz Mountains, in the
fourth act, was startling in its feasures-its
helish character being enhanced by scien-
titic and judicious use of the cleo
trio light If you believe the stage
Faust" in regard TO the torment
by fire hereafter, you must disbelieye
the teachings of the modern pulpit on this
subject. By the way, this electrical effect
crops out all through the piece. Thus. at
the end of the first act, when MephiSto,
solus, is hugging himself in a sOlioquy that
he has captured Faust body, soul and
spirit, cross, the symbol Of Christian sal
vation, suddenly flames out over the cathe-
dral door ana sends the iend in terror from
the Scene. ''FdUSt' will OTODa blV do a ppO1
weeks business. 1t is picturesque in its
settings, and, to those who read them
Alright, useful in the lessOnsit imparts.
The Streets of New York.
The attendance at the Alcazar last even
ing was fair to witness Mr.. Frederic Bry
toms presentation of The Streets of New
York" The part Of Badger, with which
Mr.. Frank Mayo has been so long identified,
was in this case in the hands of Mr. Bry ton.
who played it in an earnest and painstaking
manner, and may be credited with having
scored distinct success. For firSt.night
performance the supporting company
did remarkably well. Mr.. Jacob Will
son was in good form as Gideon
BIOOdgood, the villain of the play,
while Mr.. Leo Cooper was more than ac-
ceptabe as Mark Livingstone. Mr. Nick
Long as Dan, New York hoOdlnm, gave
further proof of his undeniabe abilities for
this class of dramatic work. Mr.. l.. K.
Stock we'll was in his element as Mr.. Puffy,
and extracted all the fun possible out of
the character. Miss Eleanor Barry, Miss
Idaene Cotton, Miss Fanny Young and
Mrs. Ben Cotton all demeaned themselves
well and contributed in great measure TO
the success Of the performance. The fire
scene in the sixth act is worthy of special
mention. The Streets of New York" will
be repeated during the present week.