The Seattle post-intelligencer. [volume] (Seattle, Wash. Terr. [Wash.]) 1888-1914, 1891-03-29

The Millionaire is comedy in three acts
~ Leaudcr Richardson. Of which the plot Is Is
follows: James O'Brien-Mr. su1ly-a wealth =
Irish-Americen contractor, has invested his all
II railroad undertaking, and b to have COM
pleted b. certain time the track Of . new road
70 Rocky Gorge. Three interruptions sharpers
are interested In delaying the work upon this
road, not 80 much TO impoyerish O'Brien 40 to
enrich themselves. All other plans failing,
they incite strike among his wor kmcn, but
Irishman and intrepid daring OF an American,
holds the excited crowd back and the golden
spike is ct last driven, and the thrifty o'Brien
that was, il in the end Mr.. James O. Byien, the
millionaire. The story II brimful Of action. and
- might be supposed. several sensational scenes
are Introduced, conspicuous above all being the
strike Of the Italian iaborers, the saving of the
Life Of the child Flossie and the passage OF the
frst train over O'Rrien's road. Realism is ct its
highest, and, We might add, dangerously SO, in
the incident OF the bias. where O'Erien rescues
the child The boom of the giant powder rAttles
the very timhen Of the thcater, and huge rocks
are hurled In the air with such force ss TO
threaten the safety Of all upon the stage. and
whether contemplated or not, with q pleasant
feeling Of security by the audience, il certainly
excites the coolest spectator to applause, and
the gallery IL driven 10 such pitch as to drown
with mighty yell the rumble and roar of the
painting stced Of Iron Is it piunges headlong
upon the stage. The curtain was raised and
lowered SO repeatedly that the count became
tiresome, and the hubbub and hnrrah was only
quietcd by the entire company passing In re-
view across the stage.
Now, some, of course, win cry sensational"
and sarcastic silusion interjscfed ~ to red IRE,
gallery GODS smoke. noise. clap-trap and the
like, but II to be realistic Is TO be sensational in
this day and generation of the drama. pray what
are we going to do with the Irvings, Barretts
Gilettes, sardous, and other disciples of the real
realized as to the stage? Again, il may be said
that If TO be Sensational is to sin, then have
Messrs. Richardson and sully sinned in
good company. The same names already men
toned might be- addnced again in their
support: the poets who invented The horrid
stories that have always been favorites on the
ancient and modern stage, that are the staple of
the classic and romantic drama are in the same
category, for we contend that the cup OF poison,
the dagger. sword and battle-axe of the days of
Shakespeare were just as much instruments Of
the Sensational ~ blasting powder or real loco
motives In this so-called degenerate age; but, be
that N il may, these last mentioned agents GER
tain.y give wonderful life and action to .sThe
Millionaire" and bestir its audiences as few
audiences have ever been stirred before. As the
curtain rises upon the second act the clang.
clang OF the heavy hammers Of the workmen is
heard, and the hustle and hurry o. the shovelers
upon the track so nearly approaching the real
that Il did not need the click of the wires and
the faraway whistle Of the trains to make one
feel that Rocky Gorge Was not place OF profile
and canvas, but reality as pictured to both
mind and eye.
This docs not by any means finish the play, as
in the next act the now Millionaire o Brien APP
pears in all the glory of evening dress again, at
the mngnates mansion on Fifth avenue in
answer 70 personal kilograms from the various
members OF the opposing syndicate asking con-