The San Francisco call., 1896-10-25

FlOrentine subjects by Dante GABRIEL ho-
setti. But 1t does not require the wisdom
of the serpent to foresee that with all its
staging "Romola" will never please the
theater-going public. The language alone,
largely culled from the novel, is sufficient
10 damn it. George Eliot's stately,
sonorous English is about as fitted for
stage purposes as Milton's. On the whole
l think Paradise Lost, with scenic Ell
fects. would make a much finer drama
than "Romola.'
But heavy dialogue is not the only de-
feet. The plot of "Romola" is q very
nightmare of the stately epic, round
which George Eliot wove so much de-
BcriptIon and philosophy. 'Tis pity but
IT'S true that very few people have read the
novel, and the ideas Of the story gathered
from seeing the play were weird enough to
make George Eliot turn in her grave.
asked sprightly damsel who never
misses a new production, and who had
not read "Romola," to give me her con-
ception of the plot. She said she had not
understood much about il. Perhaps it
was her own fault, because she could not
take an interest in Florentine politics
American politics were confusing enough.
The loYe-m aking between Tito and Ro-
mola would have delighted her ifthe Ian
guage had not been like an essay. She
was bitterly disappointed afterward to fine
that Tito had married Tessa instead of
Romola, but in the next act she saw, to
her horror, that he had married them
both, and not being able TO take any fur
ther interest in fifteenth-century Nor
mon, particularly as he had bored her by
his electioneering for the Medici, she. went
home feeling rather cross and very sleepy.
This young woman is a fair type of the
average theater-g goer and the enthusiastic
Tabers evidently have 10 learn that these
are the people they must cater for. An
actor cannot live by art alone, he needs
the dollars of the public, and the public
does not want incoherent plays-outside
farce comedies. L am sure the subtle de-
velopments of character in "Romola" ap-
pealed TO the Tabers' artistic sensibilities,
but how about the many-headed public,
which is entirely lacking in a taste for
subtle developments?
Americans are supposed to whip crea-
ness, but the.Tabers have given another
proof that Americans don't deserve the
reputation where their artists are con-
cerned. There is the brilliant, erratic
Richard Mansfield. Do you think our
Richard gives thought to The man in
the box-office when he puts on a new pro-
duction? You can bet your bicycle that
if he thinks of him az all it is only to
say, "BIow the box-office. Here A has
just shown me new play that contains
part with fine artistic possibilities, etc."
Richard is tempted by artistic possibilities,
and he falls. Soon after we read the an
nouncement: "Mr. Mansfeld's latest
production has been withdrawn. because
the public was unable to appreciate, etc"
fear the Tabers' latest production will
soon be Withdrawn, because the public
was unable to appreciate, ETC."
How different is Henry Irving's man
agerial policy! as an impresario, this
cadaverous gentleman has never made
mistake, probably because, when he is
tempted with good part, he does not
fall. Aye, the part fits me. b1t how will
the play fit the public?" is he question
the astute Irving asks himself. 1t is a
matter of. dramatic history that Irving
always answers the question to the entire
satisfaction of the man at the box-office
The consequence OF his foresight is that
he has money to burn on every new pro-
duction, while Mansfield is continually
harassed by financial worries.
The Tabers are young yet. Here's to
their following in the managerial foot
steps Of Henry Irving.
'The little Buckley girls all right"
This statement was dinned into my ears
between every act by an enthusiastic
gentleman in the rear at the Alcazar the
other night. MY sentiments exactly,
srl'' 1 longed to remark, but the lack of
an introduction put an icy barrier be-
tween myself and the enthusiast. 'sThe
Ugly Duckling" was a very absorbing
performance, so absorbing that / sat and
drank it in. oblivious OF the flight of time.
On coming out was surprised to see the
Orpheum across the street in darkness.
and looking at the time found that il only
wanted few minutes to the witching
hour of midnight. However, that has all
been changed now and the play is Just as
absorbing, though the management has
cut it down to permit the audience reach
ing home betimes.
Sharkey attended the Orpheum last
week, and when the comic fighting turn
of the Horn brothers came on the gallery
boys hailed the pugilist from aloft and de-
risiveIy inquired what he thought of "that'
combat. 1t was evident for their own
part the boys were fascinated with the
brothers lack of reserve and caution in
coming on to the fray which distinguishes
professional pugiIists.
Things really look as if the lower ami
mails were crowding out humans IN the
music hall profession. We have grown
accustomed to cats and dogs, horses and
kangaroos, as members of the vaudeville
ranks but now that donkeys and baboons
are going on the stage, what is to become
OF hard working human performers? Herr
Grais' little artists do their circus-ridine
act very prettily. When the pause for
light refreshments comes the donkey
munches his carrot and the baboon his
candy with the self-satisfed air of indus