The San Francisco call. [volume] (San Francisco [Calif.]) 1895-1913, 1895-09-22

ideal features of the play. He wore the
motley so well that it was impossible to
say whether he was mere coarse fool
whose shafts of wit hit the truth by acct
dent or whether he was a philosopher mas
querading in the motley. His appearance
was also an ideal one for the part of
TouchStone.
In all the woodland scenes w. G. Beach
made a graceful, manly Orlando. He was
particularly good in the scene with Jacques,
when he parties that cynical philosopher
questioning with neat epigrams. Miss
Coghlan emphasized the gay and sprightly
side of Rosalind's character. For instance,
when she hears that Orlando is in the
forest and exclaims, "Alas, the day, what
shall l do with my doublet and hose"
the actresses who lay stress on the
womanly side of the character say the
words with a sudden timid shrinking from
appearing before Orlando in such guise
tit was before the days of bloomers) Miss
Coghlan, on the contrary, raised a genial
laugh by seeming to be full OF mischievous
fun at the idea of appearing before her
lover in doublet and hose.
Miss Coghlan was at her best in the
scenes where she was acting the pert boy
with the love-lorn Orlando. There was
plenty of vim in her impersonation, and
her energy never tagged, though at times
she grew trifle STACEY and studied for a
performance under the greenwood tree. J"
1t would scarcely be fair to find fault
with Miss Maud Winter for being too
pretty to make an ideal Audrey, though
she was over good looking for that turnip-
eating Wench; however she atoned for this
by acting the part in a delightfully."- gro
tesque may. Miss Freda GalIick was a
plump and pleasing little shepherdess, and
her coloring exactly fitted in with the de-
scrption given in the play of Phebe
She enunciated brilliantly, though she
might unbend trihe more in her acting.
As for Miss Pauline French, her Celia was
SO delightfully."- uustudied that it would be
a caiumny to apply the word acting" to
the performance.
"All the worlds stage brought c. T.
Richman good round of applause. APP
parently the audience wanted to encore it.
The part of the melancholy Jacques, how
ever, taken as whole, did not fit it's
wearer quite so we'll, for instance, as
Touchstone fitted Stockwell. Richman
delivered his sarcasm and his philosophy
more as if he had conned them by heart
than as if the bitter thought sprang from
MS own inner CONSCIOUSNESS. His acting
was never monotonous nor didactic, how
ever, and be spoke mis- lines we'll.
One or two OF the minor characters were
not on good speaking terms with their
roles and this, combined with the absence
of prompter, caused Orlando's wicked
brother Oliver to founder hopelessly
toward the end of the last act. He was
pulled together again in a few moments
by the rest of the company, and people at
a distance scarcely heard the little slip.
The majority of the smaller parts were
excellently filled. Hugh Ford made a
good Adam; Edmund Hayes made the
most of his little role of the other Jacques,
and Thomas Kierns made one of the big
hits of the performance by his impersona-
ton of the country fellow William.
Taken as whole, "As You Like It," by
the Stockwell players, under the green
wood tree was a grand success. The cos
tunes were pretty and correct, the comedy
was staged better than the best scene
painter could have depicted it and most of
the acting was memorable for its brilliancy.