The sun. [volume] (New York [N.Y.]) 1833-1916, 1896-03-29

ISOLATION, and there were oniy costers in the
audience. There was as much apr eciated ss
to slnR in the music halls, I played at three or
four IN an evening. commencing ut those way
To the West. In that way | had Opportunities
Of being thrown constantly with them, and
NY appropriations OF them were the first ever
given IN London where the cockney was not
mssysiy erp bsYs Ssen r Sero SR pyes sssn Something
Of the, local New York characters, and | have
noticed the resemblance between the, types here
and In London. The cockney that l represent
thtmmt. Fddicn. We have just that same type
in London, and have, found a suggestion II
put him on the stage, The cockney in
the tough men and boys represented in books
and on the stage do not work regularly. | think
'Chimmle Fadden' as a play would succeed
in London. not only on account of It's merits
simply ms n comedy AID II could do tnat but
acter IN tSc Bowery boy. / am certain il would
please London. | have never seen so perfect a
niece Of Oh character acting in my life, as the Mrs.
Murphy Of Marie bates. 1t IL admirable. II
was Just as COMPREHENSIVE aud enjoyable to
me ps though she had been acting a London
truthful there. don't think that dialect has
anything to do with a success in delineating
OF It are preserved. For instance. Aberdeen and
Inverness know no more about cockney dialect
been just as great as IL ever was in London.
+ two years | have not acted In the music
nails. IL Is customary TO near one saw that tho
music halls In London have improved. when on
a matter OF fact the performances are as bad AS
they ever were. The buildings nre handsomer
and more elaborate. but the stage performances
are still tainted with indecency. For that reason
! have acted with a company OF my own In places
where I could draw just the people VINO wanted
to see me and were unwilling to put up with
tho other elements OF n music hall perform
ance. There is q great deal of talk about
the music halls in London now attracting
a class of people who are averse to
any indelicacy in speeck and action. As
a matter OF fact that Is not true now and never
will be until the music halls are under a
different kind OF control from that which domi-
mates them to-day. Another thing which con-
stantly annoyes me when | am acting In a mu-
sic hall Is the drinking In the audience. II IL
difficult enough anyho to hold an audience In
n music hall. far more different. | claim, than
in a theatre. There Is no continuity Of interest,
and ever performer who comes on to the stage
has 10 build up his own place in the interest OF
the spectators. There is nothing more dis
couraEing when he is working his hardest to do
this than to have n hottie pop or see n walter
walk down the, aisle bearing n tray of glasses
and distribute them"
When he was asked how long he thought the
cockney character would serve him for stage
purposes, Cheyalier said he saw no reason whv
II should ever he exhausted. Nearly a hundred
songs have been written about the cockney by
Chevalicr already. ami ne believes that there Is
Inspiration in him for as many more as will be
needed. Chevalier has fixed ideas on art out
side OF his exhibition of II in delineating the
cockney. lio believes that tho personality of
the artist should permeate his work, and finds
an analogy for the sumo theory IN painting and
literature: believes that lbscn's Ghosts" is the
greatest of modern plays; reveres IOla as q
novelist and cannot abide George Moore: and
utterly fails to see any merit whatever In one OF
the most popular variety actresses on the New
York stage. He confessos. too. that II Ivette
Guilbert had not succeeded In New York he
should never have thought of coming here.