Evening star. [volume] (Washington, D.C.) 1854-1972, 1891-09-05
was complete. She was big, white and luscious
1 and the men were mad over her.

was complete. She was big, white and luscious
and the men were mad over her.
COMMONPLACE ACTING, But GOOD BACK.
II looked at her. studied her. Her acting
was certainly commonplace. Nearly all the
faults conspicuous in her at the time Of her
first appearance were still noticeable. She had
apparently made very little effort to rid herself
OF them. But what I observed especially
about her was that her dresses were cut SO as
she had developeda hsbisof turning half round
as she delivered her lines 30 that the audience
could get the full effect of her unusually beau
tiful shoulder blades. She had never forgotten
that compliment Of the critic in the evening
newspaper. 1t had been her start as a stage
beauty, and in that character she had worked
mp from the ranks to the position Of leading
lady. You might tell her now that she is .
poor actress and she would contemptuously
smile. But speak of her magnificent shape and
she will regard you at once as seer in tho
world Of dramatic criticism"
PERSONAL FHELrNas AND PROFESSIONAL WORK.
A prima donna and tenor who are now on
their way here from England to join one Of the
principal comic opera companies are said to be
at swords points in their private intercourse,
and yet no trouble is anticipated by their man.
ager in getting them to work in harmony. This
hostile attitude OF two leading performers is
known manager in speaking of it the other day
remarked: No good artist allows his personal
feelings to interfere with his professional work.
Those two young opera singers will make love
and kiss as though they adored each other. you
can count on it. Why, look at the case OF
Charlie Thorne and Sara Jewett They hated
each other and wouldn't speak together off the
stage. remember an instance down at the
Union Square one night when Daniel Rochat'
was on At the end Of the second act, just
when Thorne was getting in some of his finest
and most serious acting, fiat fell in behind
the scenes, making terrible noise and soaring
Charlie out Of his lines. He hesitated an in
slant and then went on with his part, but the
moment the curtain fell, moment later, he
vented his wrath. For while the air was blue,
and Ihorne's voice was audible away out in the
theater. Sara Jewett did not have time to get
of the stage before the outburst came, and she
heard the worst of it. She was SO disHusted
that she turned and said something very cut
ting to Charlie. He retorted in kind, and the
two had short, sharp spat, Jewett white with
anger and Thorne boiling. Then they with
drew to their respective dressing rooms.
ARTISTS AGAIN.
'The third act came on, and il YOU remember
the third act Of 'Rochat' you know that it is
one Of the most impassioned to be found in
modern drama. 1t is wild love from beginning
to end. Roctdt grovcls at the feet of the
"oAAoh Az oihAips ahu ocSr ike u spanlei 1Of
her caresses. Well, went in front to see the
act, and never, during the run of the play, did
Charlie Thorne ever get more thoroughly into
the part. His love for Jewett was overwhelm-
ing IN its unbridled intensity. 1t seemed as
though he must seize and crush her life out in
his insanity of passion. And Jcwett showed no
surprise. She was the artist again and looked
into the actors face with the yearning,
tender expression that her character required.
IL was beauiful-beautiful Some people say
that Fanny Davenport is doing the best acting
OF her life now because she loves her leading
man, who Is also her husband. Nonsense.
Love or hate has nothing to do with acting
Why. look at the case Of Charles and Rose
Coghlan. We're not they both at their best
when they acted lover parts together at Wal
lacks! Well, now, if private emotion had any
thing to do with art wouldn't a brother and
sister find it impossible to simulate the neces-
sary passion. That tenor and prima donna who
hate each other will get on all right. If they
don't 1t will be because they are not artists"