Bismarck weekly tribune. [volume] (Bismarck, Dakota [N.D.]) 1884-1943, 1895-11-01
THE GALLERY GODS.

THE GALLERY GODS. |
oUTsPoKEN CRITICS WHO SIT IN THE
CHEAP SEATS NEAR THE CElLlNG.
The Kind OF Plays and Players That Please
the Habitues of the "Heaven"-Their
Fondness For Particular Actors and Ac-
tresses-How They Applaud.
This is all because St. nouisans have
their dramatic opinions made to order.
Attractions before reaching here have been
tried by the fire of eastern criticism. The
local theater goer, a. most indolent appre-
ciator, accepts the diota of others rather
than energize sufficiently to formulate an
opinion Of his own. In this atmosphere of
Philistinism the gallery is stifed. Indeed
on the rare occasions on which it has at
tempted to assert its independence, phys
ioal force has been employed to coerce it
into uniformity with the pit.
A case in point occurred some years ago,
when Mary Anderson brought here her all
English production of GA Winters Tale"
Mary was bad enough, but her troop Of
transforming cockneys were too much for
the gallery. The pit and boxes were filled
with the elite of the city, and they were in
ecstasy over a production that had visibly
charmed the Prince of Wales. But the
gods could not understand the thick
speech of the Englishmen nor appreciate
their stilted action. Undaunted by the
display of fashion, they boldly guyed the
performance. -Four ushers were pretty
badly beaten for attempting to restore or.
der, and q relay Of scene shutters was final
ly necessary to bring about quiet. There
we're a dozen broken heads as the result of
the evening, and there has not been a noisy
gallery in either the Grand or Olympic
since.
One of the marked characteristics of the
gallery boy-there are others-is his fond
ness for particular actors or actresses. The
late Lawrence Barrett was a redhot favor-
Ito with the gallery boys from one end of
the country to the other. This may have
been due to the widely circulated story
that In early life he was a newsboy, and
his name was Larry Brannigan. There
was food for hope in this for every stage
struck youngster in the land. A long way
off and in another direction is Sadie Has
son, who wears a %trapper's outfit and
shoots Indians with marvellous indisorim-
nation. She is the ideal woman to more
than half the factory boys in the big cities
of the country, and her youthful admirers
lie awake at night dreaming of her mimic
prowess and wondering why their own
mothers and sisters cannot be nodded
along such heroic lines.
The persistent fad with the gallery boys
Is the modern melodrama, with it's superb
scenic accessories and climaxes by mechan-
ical device. He wants action for his ad-
mission, and a play like "Rebellious SUI
SAM would not interest him ten minutes.
It is the show that can produce the great
est number of happenings to an act that
gets his coin the oftenest. Those arc the
kind of shows they put on at Havlin's,
clean, wholesome shows, apt to give a boy
exaggerated ideas Of life, it is true, but not
calculated to warp his moral fiber.
One night during the week a Republic
reporter climbed to the gallery Of Havlin's.
1t was packed to the roof, and as bathing
is not part of the daily curriculum Of the
habitues it was a trife trying. The gods
did not seem to mind it. They were
packed in sweltering rows from the railing
to the seats at the top, in which, when on
is seated, he must bend forward lest his
head strike the ceiling. Nearly all had re
moved their coats and loosened their shirt
fronts. Some chewed tobacco, others ate
fruit or munohed peanuts. All were in g
happy frame of mind. There was a Ger
man knockout comedian holding the stage
while the sensational climax was being
set. All his jokes We're given in a personal
burr and hurled back and forth among &C.
quaintances.4 The raillery was keen and
intensely personal, but seemed to arouse
no ill feeling. Suddenly the actor began
guying an imaginary person in the gallery,
Quick as a flash the crowd had picked on q
real victim in the shape of a sleepy look
ing youth in a row far down the front.
Seven hundred pairs of eyes turned on til.
poor fellow, and as many tongues shot
pointed remarks at him. 1t was the crue
wit of thoughtless youth.
Then the scene changed, and every one
Strengthened out and leaned forward, fol
the climax of the play wa about to come
The villain rushed on and climbed up /
telegraph pole and tapped a wire only tt
learn that the police were after him ant
had been notified by his rival. TIL mere
tapping incident was heartily appreciated
Then the hero comes on. "Why have yol
pursued and betrayed me2' asks the vii
lain amid impressive solennity. Slowl,
comes back the answer, "Because yol
have come between me and the woman
love-" Like a sharp crack of thunde
comes a roar Of glad appreciation from tn
gallery. Then the pair clinoh. In an in
slant the whole gallery is in an uproar
Every one is on his feet.
"Kill him!'
"Grab him by the neckr"
"Bite hint"
Thus comes the chorus Of yells from tn
excited spectators. The hero is Overpow
cred amid groans from the gallery an,
thrust into an clubhouse; the girl comes OF
and meets q similar fate. The villain thel
sets fire to the barn in which his rival i
looked. The flames lap out. Not a soun'
Is heard in the gallery. Then the girl ap
pears. She has climbed out OF the roo
and is making her way through a network
Of telegraph wires to the burning shed.
The faintest suspicion Of a cheer roll
across the gallery at her appearance, bu
it quickly dies, SO mighty Is the suspense
Step by step the girl draws near the end Q
her journey. Inch by inch the gallery ha
risen to it's feet. Not q word is spoken
hardly a breath is drawn. The girl reache
the onnOsite mole. climbs down and wit