The times. [volume] (Richmond, Va.) 1890-1903, 1892-04-24

The fact is, the managers appear 10 nave
simplv recognized the dominant sentiment
of a Christian community.
In one aspect Of the case this IS n curious
tribute 20 the growth of reverential popu-
lar feeling.
Mr.. Maurice Barrymore is TO open the
new Fifth Avenue theater with a comic
opera. / had the pleasure of reading the
Ibretto. 10 is like everything this erratc
genius has done, an audaciously clever
and original piece of work. How he ever
managed TO get it upon paper is a mystery
10 all who know him. He is without ex-
ception the most unliterary man ! ever
knew. He goes about with headful Of
ideas and conceits which 1t is his delight TO
pour out over a cafe table to a select coterie
of good fellows. But TO do consecutive
work with pen is not in him.
remember that he wrote 'Nadjezda" on
trains in barber shops, while he was hav-
ing his boots "shined." He wrote it on the
backs Of envelopes, on the margins Of
NEWSPAPERS, on beer soaked circulars and
on visiting cards. When he got an act
fairly mapped out he had 10 read it, and
then there was curious scene. Listen
TO this" he would say, and then pulling
would shuttle them over and arrange the
backs together and commence. The read
ing was sure to be interrupted in a few
seconds by some such observation as, "By
Jove. that's not it; that's part of the other
act-hold on a minute" Then he would
dive into his other pockets, and after pull
ing out dog whistles, playing cards, nail
files and cigarettes, "By Jove, don't you
\ -. l. I Iox loft hot
in the Turkish BATH wait moment,
please; perhaps this is it, and unfolding
wrinkled wad he would discover it and
with Infinite effort proceed to give the
scene from smeared, erased and inter
lined copy in pencil on the back of an adj
vertisement.
How these detached bits Of character and
plot ever got into shape no one can tell.
But by some process they did. ModJeska,
who has a keen appreciation of Barry
more's genius, says he dumped ''Nadjezda"
out Of a bushel basket and they sat down
Oh the floor, and while be sorted the scraps
she read the play. This is burlesque, of
course, but it is fairly indicative of Barry
more's method.
had an experience once in collaborating
play with Steele Mackaye We were in
the country. Everything wooed us out
doors Steele would say in the morning,
snow, my dear fellow, Wen take walk,
yet our systems full of oxygen and come
back inspired for work"
No more delightful companion could be
found than Steele Mackaye when there was
plenty of oxygen, and we would ramble
eight or ten miles and come back hungry
as wolves. Then Steele would say. 1--WE
can't work on an empty stomach; it's ut
terly out Of the question; we'll Just get
good, hearty country dinner and we'll feel
more like it," Then we'd sit at the table
three hours and discuss Swedenborg and
Schopenhauer and Kant and drink
wine, and when l proposed to go to the
library and get to work Steele would
say: Great heavensl man-on full
stomach The idea is suicidal All the
vital energy is required for digestion. !
thought you had a fairly good knowledge
of physiology. No. sir, We'll just take "a
sesta and get up in apple pie order for
work" Then we'd turn into convenient
hammocks, and when we woke up there
was company and a jolly evening. This
went on day after day and no collaboration.
We'd sit down occasionally on opposite
sides of big round table, where there was
a great show Of foolscap, and immaculate
blotters, and ornamental gold pens and
we'd each take up an implement, and stare
ut each other for a few moments, and light
cigars, and go cut on the veranda TO plot
the scene, as he called it, and discuss Cou-
sin and Herbert Spencer instead.
Finally / nit upon happy device. /
pulled the table up TO the veranda win
dow, told Steele to light his cigar, go out
on the veranda and walk and talk the
play. and would write When he got in
action and could "orate" he was the best
collaboratorI ever saw He spouted, acted,
preached and argued, and / wrote. That
was the way that play was got upon paper.
Last week somewhat misguided person
took the Union Square theater and pro
duced two plays, 1.-The Holly Tree Inn''
and "Spooks" The first was not entitled
TO the name of play, as it was merely a
stage version of Charles Dickens charm
ing little sketch, Boots at the Holly Tree
Inn," and depended entirely upon two
children for its acceptability The infants
were undeniably interesting as precocious
infants. One, Master Wallie Eddinger.
Is eight; the other, Viola Mcneil, is seven.
They pleased the audience, but in spite OF
the fact that this sketch calls for children
IL fell outside of all dramatic criticism the
moment they were employed in it.
"Spooks" proved to be New England
comedy without plot, like the "Old
Homestead and depending like one Of
Mr. Howells novels upon the restlessness
and volubility Of the personages for its in
terest Mr.. Howells, by the way, suddenly
discovered the "Old Homestead" after it
had been played five years, and rushed
into print like a royal astronomer 10 her
aid new star The "Old Homestead" he
said. WAS the type Of the play of the future,
and to that complexion all good work must
come
To compare the prediction with the real
outcome, which is "Spooks," is like mis-
taking a bonfire for a comet.
don't know anything that so COM
piet'iy puts the extinguisher on Mr.. How
els theory that the public does not want
plot In play, but only character, as this
play OF "Spooks." Itisall character Every
parsonage III it is a genuine New England
type, and the actors do their very best in
oeiineation. But the story doesn't interest
anybody They talk continually, but
never get anywhere.
What was the result? On Tuesday night
naii house by Thursday one-third. by
Saturday the nshers were lassoing people
to I'll the seats.
Aalaaas " pare- nliishls thar. tasee q