Smyrna times., 1895-12-11

! popular Parts by Persons In the Audi
ence-Several Interesting Incidents Re-
lated by a London Newspaper.
Playgoers of today do not appear to
fall so easily under the influence of the
! power Of the performer or the vividness
OF striking situation as in times gone
by. They do not so quickly lose their
own identity, so to speak, and become
SO absorbed i'll the drama as to be car
ried away with the interest of the plot
to such an extent that they feel them
selves not merely spectators, but partici-
pants in a real and tangible incident.
But when plays deal moro with hemelv
and natural stories and less with the
fantastic and woman with q past'
class of drama, folks appear to have been
more emotional and enthusiastic. They
forgot the mimic side Of the picture
and only saw before them life in minia-
ture, as they understood it. They had
the human note very finely tuned and
developed.
For example, when they were play
ing the almost immortal "Green Bush
es" at the Adelphi during one of its
many revivals, Nine. Celeste, in the
character of Miami, the Indian, had to
shoot her English husband, by whom
she had been deserted, and, after firing
the pistol, woman started up in the
pit and exclaimed in a loud voice.
Served him right; it's just like my
monsterP' This explosion of insuIted
womanhood, produced by the "cunning
OF the scene" and Nine. Celeste's now
erful acting, was naturally followed bv
burst Of laughter from all parts Of
the house.
1t is certain that art frequently DOS
sesses more sway over our feelings than
nature herself. 1t was at the Olvmpic
theater, in the autumn of 1874, when
the 1.-Two Orphans" was being acted.
that young lady sitting in the stalls
hurled her opera glasses, with the ex-
clamation, "You beastP' at Mrs. Hunt
ley (La Frochard), who was i'll treating
Mr.. Henry Neville, the crippled Pierre,
IN the garrett scene. 1t was certainly a
nigh compliment to that actress power.
though 1t was dangerous way Of send
ing a testimonial.
But 1t was a critic who uprose. IN
the first night of the late Charles
Reade's drama, "It's Never Too Late to |
Mend, at the Princess theater, in
1860, under the management of George
Nnlng, and vehemently protested
against the flogging business in the iaiI
scene, as being inhuman and untrue to
life. However, it was true to life. and
the discussion that ensued in the naners
tended to crowd the theater nightly for
many months. But audiences did not
always take things too seriously and
were IN the habit of expressing them
selves very candidly when occasion
arose.
Even the great Grimaldi could nor
invariably rely upon success for his old
Wheezes. He was once Missed at Sadler's
wells theater after singing his celebrat.
"a comic song (what dull piece it was
% read, by the way y 'Tippitywicbet y
md he appealed to the audience. He
had nodded" he said, crowned.
neezed, choked, gasped, cried, grinned.
rlmaced, hiccoughed-he had done ali
nat could be done by brow. chin.
heeks, eyes, nose and mouth-and what
more did they want?'' "Whv. we
want, yawned languid voice from
he pit, I'VE want a new featurelp
Sometimes it is the manager who
ives vent to his feelings when sitting
n front, as was the case with Henry &
iarrls, for many years manager of |
oVent Garden theater in the early mart !
the century. He was watching the
er1ormance from the stage box of an
ctor OF the name of Faulkner. who had
gently arrived from the provinces and I
'as making his appearance on the met +
Dpoltan boards as Octavia in "sThe O
containers. " Faulkner was not quite
to the mark, and when he exclaimed i
a deep, cultural tone, "Oh, where is .
y honor?" Harris exclaimed, ''I wish q
'ur honor was back at Newcastle y
'ain, with all my heartp' a
Macready, of whom many stories W
ere told, says in his Memoirs :" at is
member on one occasion acting in Il
'enlce Preserved A long and rather VI
owsy dying speech of my poor friend. f,
Iler, was dragging its slow length >,
oHe' Wheh some one in the gallery, 3,
tone of great impatience, called l.
t very loudly, 'Ah, now die at onceP el
hen voice from the other side imme- ST
otely replied, Be quiet, you black Ct
ard, and then turning with patron el
ing tone to the lingering Jaffler, Just c,
ke your time, will you?'" G.
AS an example of how easily the most :.
ute persons may lose themselves TO = -
me extent in the mimic action of the III
'ge' we may recall the story of an W
llnent special pleader who was wit th
ssing performance Of Macbeth. " In m
scene where the Thane of Cawdor. ar
estloning the witches in the cavern. no
rs, What is't you do?' the answer =
A deed without a name" This %
rase struck the ears of the pleader at lu
&c, and he cried out excitedly: "a
% without a nameS Why, tits void +" tr'
London Globe. th
Wouldn't Want Her Presence, -