The Indianapolis journal. [volume] (Indianapolis [Ind.]) 1867-1904, 1896-04-07

Shore Acres" in all it's idyilic beauty.
opened at the Grand last night for its third
engagement in this city. From the size of
the audience and its unchecked enjoyment
Of the natural dramatic scenes in this flesh
and-biood drama, one cannot see but that
James Herne's remarkable play is as strong
as ever. The same faithful attention to de-
tails that distinguished it from the first is
maintained and those who had seen it before
were impressed with the old familiar faces
among the characters. 1t was like another
Shore Acres farm after a year in the city.
Not a stick was missing from Martin Berry's
dooryard. The old pump and water trough
were unchanged and even the hollyhocks I'M
der Mrs. Berry's kitchen window were
blooming as naturally as ever. OF course.
the greatest delight in this play is found in
the thoroughly rustic characters. and by re-
tanning the same cast Mr.. Herne maintains
an eject that is true to life. The simple.
unaffected and tender hearted Uncle Nat is
t1e same deliberate, self-sacrificing, MOON
raced old bachelor. and the pleasure of seeing
James Herne In the part is not to be COM
ny all the most melodramatic heroes on the
American stage: Matter of fact Joel Gates,
with his little 'un" coming in for a hand
all the neighbors in their best go-to-meet-
become shocked at Martin Berry's dis.
his hara-wo as%nsf wi is The qBBs srry family miIs
has changed its hired girl Pearly now be-
ing played by Florence Ennesing instead of
Myra C. Brooks, who came SO near i'm
personating this essential character i'm the
original cast that Miss Ennesing is unable
70 Improve on the cart. From an artistic
standpoint there is a decided Improvement
In little Edith Talleferro's impersonation of
baby Berry. Little Edith is hardly FIVE
understanding or the role. Sam Warren. the
village doctor, and his sweetheart. Helen
berry, are agonizingly tedious in their love
scene The anfh0r in his nrofSournrf1x~ q
fort 10 avoid the sensational In this. the
only love episode In the play. has, undoubt-
are the only ones IN the entire piece that
seem out of color with the real life repre-
sented in this play. Both Grace Filklns and
continually give the impression of PLAYING
by rule. and heree are frequently simply
mechanical Robert Fischer plays Martin
Berry as II he were really the original.
Shore Acres Will continue today and
tomorrow at the Grand. with a Wednesday
matinee.
.The Old Homestead's" Profits.
-The Old Homestead" which is to be at
the Grand the last half OF this week. has
. record that is most remarkable. and
which entities IL 10 conspicuous mention In
any history of the American stage. In
some respects it is a play without a parallel.
1t has made Denman Thompson. who wrote
1t with the assistance OF George Ryer. a
millionaire; it brought reputation and for
tune to one OF New Yorkrs leading mana
ayers, and II has probably been witnessed
by more people in this country than any
American play ever written. with the ex-
ception OF Uncle Toms Cabin" Joshua
Whifcomb," the first edition OF the play,
was written in 1876. In eight years Mr..
Thompson and Mr.. J.. NJ. Hill. Mr.. Thomp-
sons partner IN, the enterprise, had shared
profits amounting to $4,000. over nine
years ago THE Old Homestead" presenting
Joshua Whitcombr in much the same sur
roundings as those of the earlier play, was
written, and the figures that indicate It's
prosperity are almost Incredibly large. For
eighteen months the play was acted on the
road with tolerable success. and then. I'm
1888, its remarkable metropolitan run began.
At the Academy OF Music for three sue
cessive seasons of thirty weeks each, its
average receipts were $4,000 a week; and
Denman Thompson's profits are estimated
for that period at $12s.cW for the first season,
over $1,000 for the second, and over Sl0o,9D
for the third.