The San Francisco call. [volume] (San Francisco [Calif.]) 1895-1913, 1895-11-09

Company, which scored a success at Sutro
Heights some weeks ago. For days past
workmen have been busiy engaged in pre-
pairing the campus theater-grounds, and
the natural growth of oaks and pines and
artistically trimmed shrubs combined in
setting for a scene unusually attractive.
The weather was delightful for such per-
Torrance. Among the spectators were the
Stanford student body, practically in its
entirety the families OF faculty members
and several hundred visitors from neigh
boring towns and San Francisco. A
gradually rising platform was completely
covered with seats, which were all filled.
The players, as in the early days OF
English drama, were forced to content
themselves with the greensward. The
incongruity of nineteenth-centuryg grounds
and costumes, the words and the move
ments of men of time so far past, as por-
trayed in LAS You Like It," probably
struck the minds of all spectators. Never
theiess, the work of the players was gen.
orally of such high dramatic order that
each scene was fascinating to onlookers
and each one forgot inconsistencies in the
skillful manner with which the laughable
| comedy was handled. Notwithstanding
the fact that the performance lasted over
two hours and a half, it was necessary to
cut many good parts OF the work. This to
some extent doubtless marred the salts
factory completeness of the orig inal, and,
perhaps, was accountable for the per-
ceptible hunting for lost cues by the
actors. Especially toward the end of the
| play, those acquainted with the text must
have been perturbed at the seemingly
needless transposition and objectionable
| loss of lines.
| The work of Frank Armstrong as Or
lando was finished piece of acting, and
that gentleman easily carried off the hon
ors of the male contingent with his clever
portrayal of the fiery valiant, yet
generous-hearted son of Rowland de Bots
and lover of Rosalind. His work was
characterized by strength, and the many
fine passages put into the hero's mouth by
Shakespeare met warm applause at this
actors rendition of them. At no time
was there an embarrassing pause when
Orlando should speak.
Pauline French made an ideal Rosalind.
and by her work disclosed the care which
she must have given to one of Shakes
| peare's most difficult passages With her
hdIuldi, SIllioH UeduIy ueT winning pres
ence and graceful gestures she was admir-
able, but it was in her expressive delinea-
ton of the sentiments which must have
animated the original Rosalind that
Pauline French displayed her ability as an
actress. She appeared forgetful of self
and wholly absorbed in the character she
enacted. 1t is but fair to remark, how
ever, that this actress voice is not sutfi-
| cien:ly strong for open-air productions.
Touchstone's peculiar, lively character
was done ample justice by Percy Hunting.
The bubbling wit and comical antics of
Touchstone the Fool were assumed by him
in praiseworthy manner, and his efforts
elected much applause.
Miss Gallrich as Phebe made consider
able OF her role as the disdainful shep-
herdess beloved of Sylvius. The work of
the remaining mem bers of the cast was not
of an especially high order, though Miss
Heffon made highly ludicrous Audrey.
The many songs intetspersed throughout
ShaKespeare's comedy were finely sung by
the Stanford Glee Club, whose members
| in the cast as foresters.
From an artistic point of view the per-
formance was decided success. Finan-
clally, the management will come out but
slightly ahead, as the expense of getting
the troupe here was great, and a consider
able outlay was made in getting the best
| possible scenic effects.