The Seattle post-intelligencer. [volume] (Seattle, Wash. Terr. [Wash.]) 1888-1914, 1892-09-25
Margaret lrasher's Appsaranes.


Margaret Msther's Appearance.
There 10 perhaps no star on the tragic and
legitimate stage today who hes moro snthusi.
astic ana steadfast clientele of admirinr parti.
sans than has Margaret Mathsr. who 10 to b
seem o. the Seattle opera house next Saturday
night, October !, In her latest success, "The
Egyptian" with which 10 grouped her new cur
tain raiser, "Nance Olddeld." OF Miss Msther's
past work in the realm Of ehakespearean and
standard roles there 10 nothing to be said. The
thsatsr- going world knows almost by heart the
story Of her remarkably successful debut in
Chicago ten years ego and knows how since
that time she has gone steadily forward from
one success to another. in each apparently sur
passing all her past work Last spring she
brought out her new version OF 1.-THE Egyptian"
ana It was ct once successful, and Manager
Hanna Immediately made arrangements to have
1t given here. A brief sketch OF the story of
'The Egyptian" which II to b the feature of
her coming here, may prove interesting. It Is .
liberal translation of that soulful story Of Vic
tor Hugo. ''The Hunchback Of Norre Dame"
BY many considered Hugo's most masterful
work. The story Of the play follows that Of the
novel very closely, opening with the meeting OF
the gypsy street singer and dancer. Esmeralda.
and her lover, Capt Ph0buA Then is intro
duced the meeting OF the gypsy girl and the
monk, Claude Froll0, and his attempt
to abduct her ~ the aid OF Quasi
modo, the bell ringer Of Notre Dame
Then follow the revels of the Egyptians on the
banks Of the river Seine, the scene that does
much to tighten the heavier portion OF the
tragedy. and here It u that the intensely anus
Ing plight Of the poet and Snowman philoso-
pher, Pierre Gringoire, Ia introduced. The at
tempted assassination Of Capt Phoebus, to put
him out OF Claude Frollo's way, and the tncar-
csration Of Esmeraida for the crime follow -
told BY Hugo. Then comes the prison scene,
h kpnS In stA k<>ft hn In vwhf oh
Esmeralda refuses to accept life and freedom a.
the price Of wedding Claude Frollo. even though
the headsman's AZ u over her head. The eli
max OF the fourth act shows the headsman's
block aad Esmeralda's timely rescue by Quasi
modo just - the AZ II about to descend. The
closing act OF the piece gives the sequenti.l
details Of Hugo's finish. dealing with the tragic
death OF Claude Frollo by being hurled from
the turrsts of Notre Dame, and Quasimodo's
death for saving the gypsy girl The general
opinion among those who have seen the play II
that it possesses more Of the concomitants Of .
popular success than any play Miss Aather has
ever had. It is tragic without being intensely
gloomy, artistic without being stilted or slow.
and pleasing because Of the many diversified
lines Of interest that are wrapt up In the dsvel-
opment Of the plot A curtain raiser to this
Miss Mather will. BY special request, present
the Charles Reade one-act comedietta, "Nanco
0ldnslds" the delightful sketch which
he dramatixed from his little story,
"Art," and which Ellen Terry made the
success Of one entire season at the London
Lycsum theater. In this comedietta Miss
Mathsr IL said to be given IN opportunity TO
display talents OF q new and unusual order, and
IL withal said TO have acquitted herself more
than worthiiy. Most Of the Newspaper critics
who have seem her In this play say that she has
surpassed the comedy work she did in John
Tobin's Honeymoon" and assert that in COM
edy she Ia fully equal to her best tragic work.
A feature of interest in the presentation OF the
comedy will be the wardrobe which Miss MatheR