The morning call. [volume] (San Francisco [Calif.]) 1878-1895, 1892-06-05
FRANCIS WILSON OFF THE STAGE.
An Interesting Chat With the Popular
Comic Opera Com I'd ian.

An Interesting Chat with the Popular
Comic Opera Com ed ian.
Francis Wilson, the agile, quaint and
original comedian playing THE Merry
Monarch" at the Baldwin Theater, is a very
different SOFT Of man off the stage than he
seems to be when viewed across the foot
lights. Perhaps the most conspicuous trait
in Wilson when you've talked to him for
half an hour is the entire absence Of what
is Familiarity known as ''shOp-talk." He's
rather below the average height, with
quiet, modest demeanOT, vet there is an in
dcation of much latent strength in his body
and an earnest, thoughtful character to his
expressions that convince one at once oil MS
sincerity and intelligence.
That veteran actress Mrs. John Drew,
when she first met him at a little garden
party given to him at her cottage at Long
Branch several years ago, remarked after
ward to a friend that she had found young
Mr.. Wilson very remarkable individual In
one res pect at least
And that is?" inquired her friend.
" talked with him for nearly an hour
and he never mentioned himself once" re-
piled the kindly old actress.
10 his private life Wilson would impress
one as rather too thoughtful for a comedian.
He is as nquisitive as woman in converse
tiun. lie wants TO know all you can tell
him about the subject OF conversation and
when you get away from him you come to
the conclusion that he has been absorbing
your information in spite Of yourself. In
the transaction OF business OF at rehearsal
he is quick, alert and very thorough in all
that lie undertakes. Nothing escapes his
attention during 6 performance, from the
flicker Of calcium light TO a hole IN
ch0Tus-giTPs shoe. After business hours he
relapses into the plain, atlaOle and COM
paniOnable fellow he IS TO every member Of
the organization.
A CALL reporter met him yesterday, had
a short chat with him, and, in most lnfOr-
mai way, he replied TO leading questions.
What do / think Of tue topical? Well,
| do not like il, unless 1t is exceedingly
clever. There are topical songs and topical
songs, you know. As a rule, they are very
inaue. Everything depends on the degree
OF cleverness Of the song. l think we are
leaning more aud more every day toward
narrative or character songs, like tho
Ostrich Song" in The Merry Monarch"
for instance. 1t is more enduring, is
better liked, is more consistent and
much more cred table to a performance.
| The best recommendation Of the character
song is its cous.ste cy.
My opinion Of the sagY Well, the wOyd
'eas' is a misnamer. 1t ought 10 mean
something that an actor interjects into his
part not put there 10y the author. But L
know many an author who would give
great deal To nave been tie originator Of
plays by discriminating actors. When a
maa OF ordinary intelligence assists an
author to develop tue possibilities OF part
lie is as clever in that particular as the
author himself, hut only a few oil tho most
experienced of play wrights Will admit this.
1t Is easy TO string a pearl or two when
somebody furnishes the string, and for that
reason the author should have credit for
furnishing tae most important wOrk-the
foundation. But he has not the right u
rob that man OF credit who chances
10 supply a pearl here and there.
/ maintain that great injustice is often done
&c actors who really assist the author fire.
quanUY in moldng new dialogue for
the development OF a role. or course
| am not speaking Of the coarse Jest,
hut Of the added lines that really make
clearer or broader the purpose Of the
author. inYeigh against all those inter-
lpcted gags" which are Inconsistent and
often have no more valid excuse for utter
ance than that they appear Ia the eyes OF a
thuughteSs actor to make his part more
prominent. One of the most Effective lines
in Tine Two Orphans, which made a
strong climax out Ol a weak one, was not
born IF d'Euuery's brain at all, but was
jndicinusiY interiacted by an actor - and
one Of the most legitimate and experienced
we have ever had.
IAN actor never wearies Of repeating his
| lines so long as an audience continues to
receive his Efforts with manifestations Of
pleasure; at least that is how feel. There
are times. no doubt. when the actors MUD
will wan 10 wander of into green fields and
pastures new, because his lines have be-
come To certain extent mechanical. but a
little enthusiasm from his audience viii
bring his attention back into the channel
into which he desires to direct il.
us an actors life wearing? Oh, l don't
think 1t is. Much depends an the degree Of
success he attains. Few things are hard to
do after success has fallen 10 our lot; it
sweetens the labor, for ny its token we
grow convinced that our efforts are appre-