The Seattle post-intelligencer. [volume] (Seattle, Wash. Terr. [Wash.]) 1888-1914, 1892-09-04
An OselslAL RECEPTIONS

at New Orleans will be read from the stage.
"Yon Yonson" II . character play of an anus
ing description, the principal character being .
Swedish emigrant and his dialect Swedish
American. Gus Heege, the author-actor, is said
to have passed a considerable time In the lum-
Der regions OF Minnesota and Wisconsin aud
among the scandinavians who inhabt them,
and IL Was perhaps natural that he should even
tually weave play around his own individual
ity and back it with the novel and thrilling
scenes of the logging camp. Without an actor
in the title role OF Yon Yonson who under
stands the Swedish language, habits and man
nersms the play would possibly be q failure;
but In this case the one fits the other SO per-
feetly that both are strengthened. IL
isn't necessary to know anything about
the language to appreciate the play
any more than a knowledge OF German
was necessary to be captivated by Emmets
Fritz" Curiously enough Heege 10 a German
and Emmett was an Irishman, which indicates
that actors play roles outside of their nation
atty With quite as great success as q few, like
Dion Boucicauit, achieve within 1t. In many
respects as to methods Heege is said to resem-
bic both Jefferson aud the late J. X. Emmett
With typical Swedish face, beaming simple
hesrtednsss and quiet, unctious humor, he OBJ
tass similar effects. He possesses a natural.
strong personal magnetism that attracts and
holds the sympathy of his audience
Mr.. Sherwood's Piano Recital.
The appearance OF William II. Sherwood, the
pianist, ut the Seattle opera house on Thursday
night was an agreeable experience for those
fortunate enough TO be present The enconi-
nms bestowed upon him of being the best ltv.
Ing American pianist seem we'll merited. 1t is
scarcely necessary to criticise his performance
In detail, for performances of this kind can not
be adequately characterized in print
TACT which appealed. however. to
Gil his listeners, both professional and
non musical. was his explanation OF the nature
ana history OF the selections which he played,
together with some account of the writer and
his times. II one were asked for q criticism
most appropriate and not applicable to all mu-
sicisns, IL would doubtless consist in the state
lnent that they always make the mistake of tax
lug too much knowledge for granted on the part
oil their hearers This Mr.. sherwood happily
avoided. and his performance was much more
enjoyable in consequence. The following was
Mr.. sherwoods programme in detail:
sonata appssionate. op. 57............. Beethoven
lmrromptu in A fiat, op 1872 No. 2. Schubert
songs Without Words. Mendelssohn
No. - In major (adagio cantabile). No. 8
IN major (iinnttng Songl
Amp,onptu In sharp, op. so; scher5o In
. nat minor. op 81. ....... .............C Chopin
March in d fla,. op 30 edited by William II.
snet~ood1 ..-.......-.-...,.... Hoil@nder
la CAmpanella' ..........- Paganini- Ilsxs
"Norwegian Bridal Psr,y Passing BY or. 10
80 ...--... ..---....-.-.---. EuWMu Greg
T sA 4e Soi'eert -..~...--....... Nienlawski
Shoo --.-. Gottsohslk
r.nesiauscheh .-..-.....--.--.... - istszt
1anhhsuser march. Wagner-L sxt