The Seattle post-intelligencer. [volume] (Seattle, Wash. Terr. [Wash.]) 1888-1914, 1893-09-03

blood, half Mortified 81 what you've done.
and yet brzTing ii cut. crying. Kings
men kings men ! to support your Dutch
courage
The rnnrderers 30 of and Mr.. Terriss
and Dir. Irving practice a series Of differ
ert attitudes for the death scene, until Mr.
Irving IS finally satisfied. He has taken
OF his coat n order TO better rehearse the
harder scene Mr.. TerriSs now helps him
on with il again, and the monks ere re-
called, and some dozen more painstaking
attempts made 70 get everything right
Its very simple, gentlemen" Mr.. Irving
assures she monks; very slmpie. when
you we once caught the spirit OF t. 7"
But where Is Miss Ellen Terry The
question answers itself as soon as asked,
tor gliding, graceful feminine presence
appears on the stage. Miss Ellen Terry IS
atfired in black, with a white hchu ~ her
breast 70 relieve the monotony OF this SOM
Der black garb. In her hand she carries
little basket and there IS 3 glimmer Of steel
at her side as ifshe wore a reticule contain
ing the hundred aud one tribes which
ladies like 10 carry about with them. So
much has been written and said about
Miss Terry that il would seem at first
sight utterly impossible 10 say anything
new. In five minutes the difficulty is TO
say enough. The supreme unconscious
ness of art. or nature, enables ner TO as
sumo q hundred changing attitudes; her
voice Is heard without effort from one end
OF the theater 10 the other; she possesses
the most exquisite tact. Watch the skill.
for instance, with which she induces some
young actor TO realize the true meaning of
passage in the play. She seems TO be
thinking IL out to herself as II new idea
had been presented to her. Yes" she
says musingly, II wonder if that is what
Tennyson meant?" or, wait a minute"
she adds brightly. How would this do2"
Then she repeats the passage with the
right emphasis. action and intonation,
giving the meaning clearly and fully.
Don't you think that must be what Is
meanty" she asks questionlngly.
"Hum-m." says the actor, looking at the
lines. 'Ahl very likely. Perhaps it is"
1t Is agreed that it shall be spoken that
way, and the actor gives a delicate and
truthful reading of the part, which will
procure him a pat on the back from
the critics when the play IS pro-
duced. In the presence OF her
intuitive perception, the members of the
caste instinctively become energetic and
animated. At one moment she bends
over TO Mr. Meredith Ball in the orches-
ira, her long black skirt sweeping the
stage in graceful folds at another moves
up" to test portion of the scenery and
confer with Mr.. Irving. or, with chair
lightly dragging after. walks towards the
wings, sits down and rapidly cons her
part. Three minutes after, she has crossed
the stage and is writing a letter. Before
the letter is finished something else claims
her attention. Then she comes back, finishes
it and Is consulted by Mr.. Irving and Mr..
Terriss as to how he Mr.. Terriss) is TO
jump over a table without forfeiting his
kIngly dignity. Mr.. Terriss has already
vaulted over the table some eight times
with the agility of a deer, but Mr.. Irving
wants il done differently. II think you'd
he no
table. and pick it up before you go over.
If you do il this way it looks rather like
Lilly Bridge. you know" Miss Ellen
ferry reflects a moment, then asks, in
mirthful tones, suitiug the action TO the
word, What is that jump that makes you
Terriss, like Mr.. Wrinkles horse, goes
sideways" This method. however, still
lacks dignity, and at last 1t is decided that
he shall place both hands on the table,
spring over and go lightly up the steps
and exit. Halfway up the steps he is re-
called by Mr.. Irving's warning voice,
Don't go up there; it isn't safe yet"
The grouping in the third scene of the
first act of Beckett" is very difficult. This
scene is laid in Northampton castle. Some
ffty people are on the stage, bishops.
Templars, knights and John of Oxford,
president of the council. Mr.. Irving runs
his eyes over the different groups. put
one man on the steps. Now. a group by
the throne. The barons sit round the table
and the rest of you occupy the benches"
After Mr.. Irving has grouped the men
on the benches he steps back and looks at
the table. I'VE ought to have on it some
kind OF mace or crosier, he says; "a large
crosier. Now for the makeup All the
barons and every one who has a mustache
must wear a small beard. All the gentle
men who have no boards remain unshaven.
All the priests and bishops are unshaven.
The mob can have slight boards, but this
is unimportant. Now. take off your hats.
gentlemen, phase. Some of you must be
old, some young. Hair very Short" and
he passes from group to group selecting
the different people. Now. think that
is all understood pretty well. Where are
| the sketches for dresses ?'
The sketches are brought and he goes
! carefully through them. Miss Terry and
! Mr.. Terriss also look over the big white
sheets of paper. The fox terrier strolls up
4 TO the group, gives a glance at them and
/ walks back TO Miss Terry's chair with
/ slightly cynical look. Then Mr. Irving
! returns to the groups by the benches.
| Remember, gentlemen. you must be
/ arguing here, laying down the law in this
| way" suiting the action to the word
| Just arrange who is to argue. Don't do
/ IL promiscuoasly, but three or four of you
/ together. Try to put a little action into
| II. i want you TO show your arms, and
not keep them glued u your side like
trussed fowls. No; that isn't half enough
4 action. Don't be frightened Better
/ make too much noise rather than too
/ little, but don't stop too suddenly. Start
| arguing when | ring the first bell. As [
ring the second bell, you see me enter
/ and stop"
Mr.. Irving next tries the three-cornered