The Seattle post-intelligencer. [volume] (Seattle, Wash. Terr. [Wash.]) 1888-1914, 1892-05-22
Hunt:ngton's Playing Male Parts.

Miss Agnes Huntington, who shortly appears
in opera at the Seattle opera-house. tells the
following story OF how she studied men as to
initiate them on the stage:
"My first male part was Vladimir in 'Fatin-
itza,' which / sang the season was with the
Bostonans. my second season on the operate
stage and the season before went 10 London
and sang 'Paul Jones' / liked the part of
Vladimir very much. / spent the sum-
mcr abroad before doing it and
had my officers uniform made there
and it was perfect in every respect, even to the
heavy heels on the boots, Tor in taking acting
lessons OF Perth, the great teacher in Dresden,
he told me what an advantage it would be TO
wear manly boots. as could get the walk of a
man better. / certainly made hit in the role
OF Vladimir, and shall, no doubt, do it again
some time. My second male role was the part of
Frederick, in 'Mignou' / felt o great deal of
anxiety as to how ! should carry my
self man, how to make
the part really manly, and every man
met or saw studied what to initiate and what
to avod-the of the hands, raising the arms,
the walk and the bearing, the carriage OF the
head, shoulders and body: the placing OF the
hand on the hip. on the sword The study of
Paul Jones even more difficult, for in the
first act was careless. rollicking hsherboy,
just falling love for the first time; then, three
years later, returning a dashing captain and
great deal OF love making to do: altefward
made a prisoner and obliged 10 appear
without q coat--a difficult costume TO wear
without OVERRIDING or undertaking the part.
Still the situation was very dramatic and the
music well fitted 10 II, and liked the character
and entered into ii with my whole heart, and
the people who came often to see il for so
many months seemed To like it as well as did.
Those gray boots wore were very much ad-
mired, but you can hardly conceive the difficulty
! had 10 get the oootmakers to put those heavy
feel it would be reflection upon then, ~ make
anything but the daintiesl of French heels.
explained that coQld never walk like man
III French heels. but they said the French heel
was so much more graceful. NO matter said,
Il viii have the hee. OF French officer then"
and actually was obliged TO have the model
made for them before they would make II to
suit me. Now 70 the waist To me ii seemed
absurd IN use the words of man, the gestures
OF a man. wear the costume OF nlan-in fact
doing everything 70 carry out the idea of a
mao, aad then draw in the waist like
= woman. as absurd as IL would be 10 dress
the part OF man and then instead OF a hat
wear the bonnet OF n woman. and really destroy
the illusion Que was trying 20 create. and. not
only that, bat burlesque the part. OR ridicu-
l0us as il would be To do a half-d0zen or more
plays and never change the wig or style o: doing
/ tae hair or ar OLD wouans part with the face
and hair OF ~ or young womau's part
| win tue tSce ana halF OF o. Ooth an lfapoSSl-
/ biilty: for ~ be consistent ami make che illu-
sion perfect the sjnperings and coquettings
! o; - should be done with youthful face and
/ hair 10 correspond. hope next year 10
do the part OF orpheus. The music and
part sui; me perfectly. aad If | succeed in that
/ role as well SIS in the other male parts have
/ undertaken shall be very pleased. I believe
from the many operas submitted to me recently
that there will be soma fine roles for il the
/ near tttu-e both male aud female ro,eS and hx
foreign aGd American composers. / do not
want many operas, but few gooi ones 10 offer
! the ppahc. who have been SO aPp-ec.ative Of
/ the efforts nave msde in my short stage cayeer,
and whose appreciation lis my great ambition
! 10 retain.