The herald., 1897-03-16
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: At THE THEATERS !
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LOS ANGELES THEATER.-Stag
realism as it is generally understood and
practiced consists in the Introduction
of some one scene in which tank Of
real water, real fire engine and horses.
q real buzz-saw or some other contriv-
ance is used to work up the sensational
climax, which brings the curtain down
to thunders of applause. The remainder
of the so-called realistic play is conf
monty of the most conventional kind.
1t is an unsettled question as to how far
realistic effects may fairly be used in the
rendition Of play, ard there are those
who claim that in the use of gorgeous
scenic accessories and accurate mount
ings the stage is too often encountered
to the disadvantage of the dialogue aud
character Interpretation.
To Mr.. James A. Herne may be fairly
awarded the palm for his artistic treat
ment of realistic difficulties in the pro-
duction of his play, "Shore Acres which
was witnessed by large and delighted
audience last night. The scene Is laid
at the Shore Acres farm, near Bar Har-
bor Maine. The first act gives the ex-
terror of the farm house; the second,
the interior Of the same; the thiro SHOWS
the inside of the lighthouse, and
changes to the storm on the outside. In
the arrangement Of these elaborate sets
Mr.. Herne has attended to every detail
with the most scrupulous care. Thf
pump runs real water. the kettle steams
on a genuine hot stove, real turkey is
dissected at the dinner table, and real
children of precocious ability act their
parts to perfection. In fact, the only
thing not real is the baby, which is
~l.+ ;x,f In, 1a 1oc a n
be seen tha; Mr.. Herne has intrcdrc cd
these touches fer the purpose Of giving
point to the motive of his play, which is
worked out with fine dramatic instinct
In the first place, the piece is not of the
conventional type The characters are
American, the surroundings domestic.
and the story interesting, but
but there is no murder, no duel,
no forgery, no burglary and no seduc-
ton in the story. In fact, it is drama
without villain, and with love story
so subordinated to the main action that
1t is merely an incident in the elucida-
ton of the plot.
Mr.. Herre's veteran. Nathaniel Berry,
| is one of those rare delineations that for
simplicity completeness and effective
ness will rank beside the RIP Van
Wrinkle" of Joseph Jefferson, and live as
long in the memory Of the playgoer. II
| is an assumption in which there Is not
only evidence of study. but of adapta-
bility which is seen in the very smooth
ness with which every incident ami
every action is treated as it takes place.
The story has been told. and it needs no
repetition here The pleasure is de-
rived in witnessing the character work
of Mr.. Herne and his remarkably well
selected company.
The supporting people have evidently
been chosen on account of their fitness
for the special parts they have to play
in this piece. The Martin Berry of Rob-
ert Fischer. an uncongenial character
was capitally done, as was also tne
slight part of Joel Gates by James I.
Galloway, who was the single comic
feature in the program. Lucy Morrow as
I Helen Berry was burdened with good
deal of respons sibility and acted with
much tact and discretion. She repre-
sents a girl brought up under the strict
sectarian influences of New England
country home, and whose rebellion
against paternal authority harshly as
serted, Is brought about by her love for
the man she wants to marry. 1t was
c,everly done, with many touches OF ma
ture ard an avoidance of straining after
theatrical effect The girls mother. by
Grace Gaylor Clark, was also delight
full bit of natural acting. Even the hired
girl was interesting, and filled her ut
tie role in a way that showed she could
do better things.
Each character in the piece, and there
are a great many, shows the influence
of the master mind, which has evolved
the story, drawn the characters with
gifted pen, and selected with hne 1udg-
ment the people to portray them.
In these days of degenerate drama 1t
is delightful to find modern play the
atmosphere of which Is so pure and re.
freshing as is that of "Shore Acres"
Some comparisons have been made be-
tween it and 1.-The Old Homestead" but
the pieces are not in the ecme CLASS. IL
would be as appropriate to compare
sonnet by Keats with nursery rhyme
as a specimen of elegant diction. The
Old Homestead" is disfigured by va
riety turns and horse-play. Shore
Acres contains nothing of the vaudeville
entertainment and nothing Is done by
any of the characters that is In any de-
gree a violation of probability. Not one
o. them indulges in so!iloquy, that com
mon refuge of the dramatist who de-
sires to let his characters label them
selves and inform the audience OF the
progress of the plot In fact, 1t Is doubt
full whether. in point of construction.
there is better play than Shore Acres
on the American stage today, and SO far
as the acting Is concerned 1t appears 10
leave but little, If anything, to be de-
sired.
ORPHEUM.-The remarkable evolu-
ton of the vaudeville stage was striking
ly illustrated by the program at this pop
ular house of amusement last night. In
addition to those attractions which have
in the past been intimately associated
with the variety show" the appear
ance of a trio of justly celebrated oper-
attic artists introduced distinct and
very enjoyable innovation. and proved
to be the piece de resistance of the pro-
gram.
Howard and st. Clair opened the even