St. Paul daily globe. [volume] (Saint Paul, Minn.) 1884-1896, 1895-03-01
AT THE THEATERS.

1.-THE Lost Paradise" the drama pre-
scented at theMetropolitan opera house
last evening, is too well known to re-
Quire extensive comment at this late
day. The play derives it's distinction
and it's sole interest from the graphic
and forcible manner in which it deals
with the conflict between capital and
labor. The dialogue bearing upon this
great question is much of it sound and
some of it strong, while the scene at.
the works when the men demand more'
pay eliminates in powerful and af-
fecting climax. 1t is impossible 20
view unmoved the spectacle of the
poor old workman whose half-staryed
daughter is clinging to him, while op-
posite stands the factory owner with
his arm about his richly dressed daugh-
ter. The closing scene of the first act
is likewise strong, for the language al
lotted to the superintendent of the
works is virile, appropriate and elo-.
quent. But, aside from the situations
and lines touching the labor question,
1.-THE Lost Paradise is not above
mediocrity. Its comedy is convention
al, some of its sentiment mawkfsh and
misplaced and it's wit fiat. Much credit,
therefore, is due Miss Eta Hawkins
for what she has extracted out of the
role of Cinders. Miss Hawkins appears
to be the only actress who has moulded
this role into a character. Her imper-
sonation is a complete Submerging OF
her own personality. She is naive, if
the adjective can be applied to such 4
role. From her lips the peculiar p -ecn-
eS of CinderS drop spontaneously, and
not with that obtrusive loudness and
theatrical flourish too often employed
to give undue prominence to the
dramatistS smart sayings.
The company is to be commended
for giving an even and intelligent per-
Torrance. Mr.. Morris invested the
character of Reuben Warner with con-
siderable vigor and vitality, but his
performance lacked at crucial mo-
ments that impressive quality and pro-
found earnestnesS which certain stu
atoms demand. Mr.. Morris can i'm
prove upon these scenes by fixing his
eyes upon the man or woman to whom
he is talking, and keeping them there,
instead of shifting them so necessarily
and seemingly looking at nobody in
particular.
Miss Frances Gaunt succeeded in
making a somewhat ungrateful role
the factory owners daughter-inter-
esting. Miss Gaunt possesses a feXi-
BILE, resonant voice. and is favored
with an attractive stage presence.
Herschel Mayal enacted the genteel
adventurer with commendable polish
and ease, though in the lighter col
loquial passages he was a trifie monot-
onous in speech. The other members
of the cast were acceptable.
The popular actor, Robert Hilliard,
will play a return engagement at the
Metropolitan opera house one week,
beginning Sunday evening, March 3,
Sunday night he will present 1.-THE
Nominee" and the beautiful one-act
play 1.-The Littlest Girl" Monday
evening and the remainder of the week
Mr.. Hilliard will present for the first
time on any stage his latest comedy,
'Lost-Twenty-four Hours"
1.-THE Girl Left Behind Me- is hav-
ing an excellent run at the Grand this
week, and the play really deserves ali
the attention it is receiving. The lead
ing parts are all in the hands of capa-
bic artists, who succeed in carrying
out the authors ideas to the letter.
81 Barney Ferguson" is the way a.
prominent New York physician made
out a prescription for a patient who
presented himself for treatment for
the blues. 81 Barney Ferguson" meant,
of course, one visit to the comedian, /
whose response to that name on, every
stage on which he appears is alwayai
a signal for laughter that only ceases
when the requirements of his play
force him from view. The physician
knew his business and Barney Pagan,
his little book when he associated him,
self with Ferguson in "Duffy's Blun>
ders," a new farce-comedy that is to
mark the funny little mans" appear
ance here all next week at the Grand