The Providence news. (Providence [R.I.]) 1891-1906, 1894-05-18


When the curtain went out OF sight last
evening 20 members Of the club, seated
ins semi-circle, occupied o Fgarien
scene taking in the whole extent
OF the stage. Nineteen OF them were in
full Dress with their every day
faces in view. They sat on raised
platform. Harry Patterson looked
very comfortable In big arm chair i'm he
"middle" and he oiliciated as interlocutor
gracefully and Interestingly. His clear,
musical voice was pleasurablc part OF the
entertainment. Harry r. Wood, "Ike"
Huling and Walter Johnson ratified the
bones on one end and George M. Cady,
Wally Phillips and Il. Dale West
land agitated tambourines on the
other. They sat on level with the
stage and looked like "coons." Alto
gether u was an effective arrange
Huiing's dialect was dream. John
son was as reposeful as though
saving wood. Cady's countenance looked
dark and troubled, Phillips resembled
professional pail. bearer dissatisfied
with s1.25 for lifting "remains" and
Westland sat relaxed for the
effort OF his life later on. Warren l..
Turner welded the baton for the Conti-
mental Band Orchestra, sitting in the
regular place and trying to get even with
their rivals on the stage. 1t was dead
heat.
The orchestra was satisfied that it
played selections from popular operas ar
ranged by Warren L.. Turner and the
chorus sang "As the Moments Roll"
This was the beginning OF the
annual and the audience betokened
its approval Justify. George Il. Wheel
wright sang "My Shepherd Boys Re-
"Hulda Hawkins Ball. Westland sang
" Don't Ask Me" in up toe date style and
Ed. &. Bixby's bass voice was heard 10
advantage in "The Pilots Daughter"
Johnson made a success of yves Gwine
TO Carve a Watermillion," and
larry .,r. Wood made "a hit
A. Freeman's pure tenor was enjoyable in
"You Gave Me Your Love-" and Huling
gave "We'll Raise de Roof Tonight"
with the abandon OF professional.
Robert Pollard sang bass solo entitled
"The Belp' beautifully. Cady was all
right when he informed the house several
times that ut Didn't Take Me Long to
Guess Her Meaning" The finale sgitated
the whole company with "Mamie Come
Kiss Your Honey Boy" with Chris w,
Clissold as "Mamie," in Vassar cos
tune. Clissold can walk like a girl.
Altogether the first part was elaborate and
evidence OF the amount OF work aud
thinking bestowed upon it was not want
ing. The jokes were fresh and nearly all
had local flavor. Some of them were
unique and bright.
Part second included selections by the
Falstaf Banjo, Mandolin and Guitar
Club, sketch" entitled "The Old
Mans Asleep by Hnling, Cady
and j. Frank Walsh. Walsh was
girl and Huling was q dude.
They sang and danced before
Cady, as the ola man came out and
they changed TO dancing and jibbering
Hottentots in the end. Both were very
clever. Wostland had considerable TO
say in Irish dialect in a
monologue entitled Again." and after
recall he appeared as a down-east farmer.
james IL. Jennings played banjo
like an artist, and then Wood
and Clissold appeared as two giddy girls
in an original sketch entitled "The Little
Anglers" They showed stunning pink
costumes. Wally Phillips appeared as
funny Dutchmsn and then the
Falstah's Quartet, George A. Freeman,
first tenor; Harry Bullard, second tenor;
James Il. Stevens, baritone, and Edward
c. Bixby, bass, sang glees, and the colored
walters, Walter III. johnson, Isaac
ID. Huling, Harry c. Patterson and
John w. Gale made hit in whisk-
broom exercise, which was one of the
novelties OF the show.
Everything considered, the Falstaffs
have reason TO feel jubilant over their en-
terprise from minstrel point OF view, as
well as a contemplation of the box office
receipts. Performances will be given
this and tomorrow evenings.