The Roanoke daily times. (Roanoke, Va.) 1895-1897, 1896-01-28

Ing with pantomimo, or, turning your
back to the railing, Wow the fast SGT Of
Pnris promenading between the acts
In ono of the pantomimcs Yvctto Gull
bert used to enter sitting sideways on u lit
tlo white donkey. The scene was pastoral
and picturesque.
An old mill, covered with weather
stains, moss and lichens, was cleverly con-
structed pieco by piece, in full Wow of the
audience. Its old wheel turned under Il
stream of water which ran across the ring
and made brook, bordered with rushes,
in which notilla of ducks paddlod.
Into this rural scene rode Yvctto Gull
bert, Il largo wido brimmed garden hat on
her hcad-a picture of Vatican!
a piano is wheeled out on the platform.
Tho old mill wheel paddles drip with wa
ter. Yvctto's accompanist arranges the
music. 1t is diillcult to accompany her;
sho takes such liberties with tho tempo.
Thcro sho stands, simply, unaffcctcdly tho
quintcssence of an cfretc civilization living
III emotions and sensations. Sho contrasts
sharply with tho bucolic sceno. She is
dainty miniature in black and whitc, with
touch of rouge, done i'll tho manner of
Cherct. Indeed she has tho spirit of his
woman, tho awkward grace and abandon,
md might havo stepped down out of ono
OF his posters from tho walls OF Paris,
where sho has caught tho note of misery,
vibrating pcrsistently through the city.
that rings in her yoicc-that misery that
sits like n black cat OH ones shor ldor. that
snaps tho cords of many life, popping
tho Seine, filling tho prisons and feeding
the guillotine.
Mon crowd the gallery rail- Tho bald
heads In tho stalls smilo expeotantly. She
is sauce to their jaded pilates. The WON
through 1t oil. And whyP They know
best who have heard hor
With clasped hands and quiet mien, like
little nun in a ball dress, the chant of
tho convent still in her voice. she sings
her song, lies Ingenues." 1t was in
varinbly the opening song of her evenings
ropertory. 1t has to do with typo of girl,
seemingly innocont, yet knowing every
thing. Perhaps she chooses this song MS
an overture to impress tho audience with
hor own individuality-toa accent tho effect
rs foil, and bring out moro forcibly tho
daring high lights and tho dark, dramatic
shadows of the songs that follow.
Each word is pregnant with fire and life.
Tho words live; the thought has a being.
Sho uses tho universal language of gesture
and expression patent to ALL
In La Soulardc," tho drunken woman,
she used to reel and stagger. 1t was pain
ful-frightful i'll its reality. Who likes to
SEQ woman-drunk or simulate drunken
ness? Sho has refined this part, as her
whole performance is moro polished and
artistic.
She gavoa song in those days most pop
ular-writton apropos of I3ornhartlt's Cleo
patra-nbont an unhappy little serpent
that was starving. She sang it plaintively,
with melancholy little voice, looking
tho picture of Voc
Her voice is improved 1t is richer now;
less sharp and metallic, more womanly.
1t has lost TINT photographic quality that
made her songs III tho nature of IL mono
logue, In the argot of Paris, using words
that bite like acid in tho hard polished
veneer of immortality and burn the ears of
curious prulcry-wo-tlso f double entente,
Significant only to tho experienced.
Already, having finished her last song,
disdaining cncorcs, sho has gone. Conc In
the night, wrapped In n large white cloak,
on the arm of her manager, frctting pccv.
ishly the whilo that her cab had drawn
down To tho corner, where under tho street
light ono has good opportunity to catch o
glimpse of her blond, touslcd hair and
tired face.