The Scranton tribune. [volume] (Scranton, Pa.) 1891-1910, 1895-03-23

4S lLlSllio VI Il etiiN i'siiilNio ttlN u
ing to boom him literally in anticipa-
tion of his appearance next season in
Clarke ana La Shelle's new comic opera.
THE Kibosh." one journal says that
Daniels is the best comic opera com
e1i1n on the stage He certainly is
as funny as Hopper and Seabrooke and
funuiCr than Francis Wilson. More
than that, he can sing, and that
is something neither Hopper, Will
son nor SeabrOoke can do" This,
Of course, is triiie far-fetched
still, Daniels is not bad one. His new
production will tell of the travels and
escapades Of wandering magician who
strolled into Egypt in the days Of one of
the Ptolemies or when the Rameses
family was in power Gt doesn't make
much difference which ii was), and
found drought. His name was Hi
bosh and, as the author says, soon after
his first entrance little Willie Kibosh
knows the magic business from \ to H."
lie had good luck, got in with royalty.
and the three acts detailing his adven-
lures are filled with fun from one end To
the other Victor Herbert will furnish
the music There will be ample oppor-
tunity for scenic display and pictur-
espue costuming. and Il strong company
will be secured to support Daniels.
Good luck to both.
Henry Irving wants to know how to
divide the credit for an artistic success
between the dramatist who words the
play and the player who acts it. "rhe
old professors have counted music
among the arts" he comments, in
recent lecture. as the art confined to
the composer, or is it shared by the in
terpreter? If the former, why is it
not enough to print the score, and let
men read for themselves? Was there
no art in the Interpretation of his score
by Paganini. by List, by Rubinstein-
or is all the delicate and endless variety
which an eXecutant alone can give to
pass as an artless labor? But if the
term artist as applied to music be not a
limitation to the composer, wherein
does the interpreter of written music
symbols, who can convey their mean
ing through quite another sense, differ
from the actor. who is also an interpre-
ter of written symbols, but of more in
finite complexity. and with ever vary
ing hidden depth? If the actors words
and motions go forth upon the empty
air artless, what becomes of the SWEET
vibrations Of the musicians art? And
if the Interpreter of the composers
script be an artist. whosoever may be
the medium of his creating the neces-
sary vibrations by any work Of mans
hands, how much more artist is the
singer who uses that most complete and
capable instrument, the human voice?
Grant the singer to be an artist. then
where is the point of difference from
the actor, who. also with endless modu
lations of voice, has to convey the
myriad phases Of thought and passion
"The English drama" says the Phila
delphia Record, commenting on Mr..
IVlng's plant. great as it has been,
never enjoyed the dignity of its Greek
nor even Of the degraded Roman proto-
type It's heyday in the sunshine of
court favor during the Restoration was
disgrace to 1t, and Jeremy TaylOr's
thunleriugs came not too soon. AL
though the English play had is origin
in the Latin moralities of the monas-
terles. the priests were soon prohibited
from indulging in these moralties.
They were cxiled to the streets. and the
paEeants were evolved From these
pageants the process Of evolution, al
though astonishing upon the whole, has
been most gradual. Even the Eliza
bcthan glory failed to gild the play
house on the bankside, or the actor
living like Jonso nor dying like Mar
lowe. Indeed, after all, II may be that
the actors failure in our own day to
secure that personal esteem which the
drama demands ini itself Is owing.to the
low moral status which, justly or false
ly, has been imputed to the craft of
actors. Memory treasures with glad
ness the fame of Barbage, Garrick,
Betterton, Quin and Foote as vividly
as the renown of the great mimics Of
yesterday. The actor may die and be
forgotten; but his conception lives after
him"
In PinerO's new play, "The Notori-
Gus Mrs. Ebbsmith," which is another
effortat analyzing animalism the author
ll'l9 Nbl h''i ul' a TNi MINIS E''ii' .'S III
PRODUCING a copy of the Bible which the
atheist heroine hurls into the fire, but
afterwaTd withdraws in horror to clasp
against her bosom. "To old-fashioned
people," comments Mr.. Smalley's Lon
don Successor. this is playing very low
with the word of God, and is even worse
than the introduction Of the thunders of
Sinia into Moses in Egypt"
The force Of an apt anecdote used to
rldd emphasis to a precept has been
traditional since Lincoln's time; but 1t
Is newly evidenced in the New York
Trlbune's dressing down of that bump
tious egotist, Richard Mansfield. The
Tribune thinks that this conceited ac-
tors recent colloquy with himself, at
Cincinnati, was conceited, rude i'll
bred and foolish, but there Is a comic
side to it. What is Irving?" asked
Mr.. Mansfield; and himself responding
10 his inquiry, he replied "He is no bet
ter actor than | am" This recalls one
Of the IIllenborough anecdotes. Now,
my lords" said Lord Westmoreland, 81
asked myself a question" YES" said
Peterborough, unconsciously murmur-
ing his thought, "and id stupid
answer you'd be sure to get to it."
Then by way of pointing its moral, the
Tribune adds: "The way to win admir-
alton Is to deserve 1t, and to go on de-
serving II whether II is recorded or not.
Adler men than Mr. Mansfield have
gone through this world, doing their
best, and deserving fortune and homage
and have died unrecognlzed and unre-
warded. Mr. Mansheld's rare abilities,
on the contrary, have been acknowl-
edged and applauded everywhere, and
the only thing that has ever stood I'm his
way is his inveterate propensity to carp
and snarl at other people. He cannot
I,.ilIr.. AII. Ilt.in.r IIic Ia .ctnricnI nI.iIl