Kansas City journal. [volume] (Kansas City, Mo.) 1897-1928, 1897-06-14
uourx AND TTIE THEATER.

Ine eNIEApTQlllAkg
en- have recently assumed in affairs OF the
American theater is constantly attracting
attention and provoking inquiry. They are
not only dominating the stage but they
are potent In dramatic writing. Their re-
markable success has puzzled the Oldest
managers. They are also gaining In musi-
cal virtuosity. but they have as yet ac-
complished little IN musical composition.
Their most remarkable achievements have
been In acting. and it is n fact that IN
one way or another they are responsible
for most OF the big successes OF the past
several seasons, The best ummar yet
given Of their last seasons achievements
appears IN the New York Press, from the
pen OF that journals dramatic critic. Mr..
Hillary Bell. This is what Mr.. Bell says
in his sueoinet re;rospect:
During the past season no male actor
assumed the Importance that was claimed
by female performers. and. with the eX-
ception OF William Gillette. masculine au-
thors did not arrive at the success won
By their sisters. From grand opera down
10 vaudeville women dominated the stage.
The chief feature OF interest in the Italo-
French season were not the performances
OF Jean de Reszke. but the detection of
Nordica and the Illness Of Eames and Mel
ba. The most interesting operate effort
OF the winter was not the Siegfried Of NJ.
Jean. but the Marguerite of Nine. Calve.
Barring Secret Service the best plays of
the season were written by Martha Nor
ton and Mrs. Ryley. The honors Of the
Lyceum season were carried by Mary
Mannering, not by j.. H. Hackett. Those
OF the Empire rested on Viola Allen, not
on Mr.. Faversham. At Days Ada Rehan
still remained the center of attraction with
out rivalry from any male actor Of the
ompany. Olga Nethersole held the middle
OF the stage. Mrs. Leslie Carter carried
The Heart of Maryland without material
aid from Mr.. Kelley or Mr.. Kellard. The
most successful performance of the sea-
son was Tess of the D'Urbervilles, in
which the chief part was acted by Mrs.
Fiske, and to that actress W. are indebted
for the most artistic production of the
year in 'Divorcons.' Lillian Russell and
Della Fox carried The Wedding Day. and
the chief interest Of The Serenade' was
Miss Nielsen. May Irwin and Fanny Rice
brought applause to the Bijou. Annie Rus
sell established the success of 'The Mys-
terious Mr.. Bugle,' and Agnes Miller
brought favor to Never Again Whereso-
ever we may turn, women have controlled
the stage"
Those who have given little or no consid-
Grafton to the subject may find It difficult
to account for this remarkable gain among
the women Of the stage. AS a matter Of
fact it is simply a natural result Of pres
emit conditions and unchanging laws. No
man or woman has ever become a great
actor or actress without q distinctively re-
ceptive temperament. if not a positively
emotional nature. Great players must be
impressionable. They must be imaginative
and must be able to feel keenly and to ex-
press forcIbly. All the world knows that
women are more emotional than men.
They are more sensitive and more sympa-
thetic. It is therefore logical that Of an
equal number Of men and women engaged
in the art of acting. more women than
men should achieve success.
Again, acting is the only profession that
holds out as large pecuniary inducements
to women as to men. 1t is not strange.
therefore. that women should apply them
selves with particular devotion to this pro-
fesslon, since It offers them greater re-
wards in reputation and fortune than
other callings.
The only reason that the women did not
surpass the men long ago IS that the ira
ditional prejudice against professional &C.
equations, and especially that Of acting.
kept from this calling many superior wom-
en- whose gifts and inclinations would have
made them famous in this department OF
art. This prejudice has been gradually
but certainly passing away. Its departure
has had its effect upon all public profess
sions, but especially upon that Of the
stage.
But while we have many successful act
resses, we have few great artists. In Eu-
rope, where there are proportionately few
er successful women in the professions,
there are relatively more artists. That is
because art in Europe is still a much more
serious thing than is art in America.