Los Angeles herald., 1891-02-23

Played at the old Eagle theater. on Sam
some street; also at the Jenny Lind
theater. During his long career as
actor, agent and manager, he seems to
have made many friends among the the
atrical people.
William j. Gilmore bears much more
than the average proportion of the bur-
dens OF the interstate commerce law, as
he has upon the road the following at
fractions: The William j. Gilmore
Opera company, presenting The Sea
King, carrying sixty-seven people and
two carloads of scenery; The DEVILS
Auction, sixty people and two cars; the
Twelve Temptations, fifty-fve people
and two cars, and pantomlmic bur-
lesque company, composed entirely of
European talent, consisting of forty
people, who travel in their own Pull
man sleeper, their paraphernalia re-
Qulring for its transportation one of the
largest scenery cars ever built.
or realistic stage banquets George
Augustus Sala writes | think that it
was Nine. Vestris who, during her man
agement at the Olympic, was the first to
include real edibles and potables among
stage accessories. Real claret and real
outlets also made their appearance in at
least one OF the pieces played under the
direction of Charles Kean before the
queen and prince consort in the Rubens
room, Windsor castle. But my very old
friend Mr.. ]. w. Callcott, the eminent
scenic artist, tells me that he remembers
"reaiistic'' eating and drinking at the
Old Adelphi late in the thirties. There
was real soup-brought from cookshop
in Maiden lane, and by its odor was it
known in the pit-in the drama of Vic
torine; and in the Adeiphi version of
Oliver Twist, Oliver (Mrs. Kee!ey) and
The Artful Dodger Wright) munched
real ham and bread while, in the scene
OF the thieves don, Fagin yates fried
real sansages.
Francis Wilson tells about The Tale of
| Woe:
After several years OF incessant service
with the Casino as Cadeaux, appeared
in Nadjy, playing Faragus, which
seemed to me to be a very bad part. In
speaking of Nadjy, ought to give much
credit to The Tale OF Woe for the delight
full receptions and attention / enjoyed
while playing in the opera. | thought
the character such an unimportant one
that stipulated with our manager that,
should | accept it, was to have the
privilege OF making such alterations and
additions as | wanted. l had heard
somebody sing the song of The Tale of
Woe when | was in England, and its
humor impressed me so much that l de-
cided to introduce it in Nadjy, and Miss
Marie Jansen and | first sang it as a
duet in the Globe theater, Boston, John
Braham composing the pretty dancing
interlude for us. 1t was success from
the first night. Some weeks later, when
we were playing Nadjy in Chicago, l in
vited my friend Eugene Field, the Jour-
nalist, to see us. After the performance
he informed me how surprised he was to
find that The Tale Of Woe, some fugitive
verses of his own writing, contributed
years before to a western newspaper,
had been made to do service as song.
Hubbard 7. Smith of Washington had
discovered how we'll they could be util-
lied, and had cleverly given them the
melody that has done so much to pop
ularize him.
The following dispatch was received
at this office last Friday night:
SACRAMENTO, CAL, Feb. 20, 1891.
| To Los ANGELES HERALD, Los Angeles, Cal.
Frederick Warde and Mrs. d. p. Bow
ers played Henry VIII at the Metro
politan theatre tonight to a packed
house, and aroused the greatest enthu-
! siasm. ARTHUR FULARDE.
No magician of this day has been able
to duplicate the remarkable interest
that has made the stay of Hermann for
100 nights in New York possibility.
Four weeks has been too long for most
of them, but Hermann has drawn i'm
mense audiences for the best part of a
season. The secret OF the success is no
doubt due to the magnetic personality
of the magician quite as much as to the
versatile character of his work. The
main features of his programme are the
Slave Girls Dream, The Russian mvs-
terry Strobeika and Black Art, in which
| Nine. Hermann has the most promi-
nent place. Upon the road the wizard
will have the most extensive company
he has yet had, and he will, no doubt,
repeat the enormous success attained in
New York.
The Danicheffs, play that has had a
great success in America, as we'll as
Europe, will soon be produced at the
Grand Opera; it has been set to music
by Messrs. Pierre de Corvin and Rey.
NJ. Rey, who has written the music of
The Danichefis. is the husband OF Nine.
Ribals, the famous dramatic singer, for
whom Verdi wrote the opera Macbeth.
M. Rey has written several operas,
among them Gitana, Corsaire, Irene,
etc. He has also written Harmonies du
Christianisme and many oratorios,
masses and symphonies, but The Dani-
chefs is looked for with impatience by
musical critics.
William Collier, who will star next
season with Charlie Reed in play bear
ing the touching title of Hoss and Hoss,
was call-boy at Daly's only two years
ago. 1t was matter OF common report
that he never drew any salary, the
whole of it being absorbed by the fines
which he received tor giving burlesque
limitations of the manager of the house.
He is wonderful mimic, and when
large number OF professionals are Gin
front" at performance of The City
Directory, he gives in his part of the
manager reproduction of Augustin
DAILY that is phenomenal in its detail
and side-splitting in its humor
The German newspapers are full of
praise for the new one-act Italian opera,
Pietro Mascagni's Cavalleria Rusticana,
which Director Stanton endeavored in
vain to secure for his present season,
and which Mr.. Abbey now promises we
shall hear next year surely. The critics
are enthusiastic over its beauties and its
dramatic strength.
Rose Coghlan has secured a pretty
| little one-act piece called Nance Old