The record-union., 1897-03-21

problem play. 1t convinced Mr.. Pin
ero, Henry Arthur Jones and all the
English playwrights that it was neceS-
sary for them to develop new resources
of their art and to provide the stage
with more wholesome literature.
The failure of Nelson's Enchantress"
cannot have equal influence, because it
is vastly inferior work, made up of
detached episodes which have no dra-
matte connection or utility; but It's
success would be a public misfortune.
1t would popularize a new method Of
national biography by which real
greatness of character might be wan
tonly sacrificed and vice and weakness
idealized
Lady Hamilton was undoubtedly en-
titled to more considerate treatment
than she received from Parliament,
when the hero of Trafalgar and the
Nile bequeathed her as sort of ro-
mantle legacy to his country. But it
is nothing less than a CHASTITY and I'M
seemly thing to have the skeleton clos
ct opened within a stones throw OF
Trafalgar Square and the lions.
New York Mail and Express The
book written by Emily Soldene is Great
ing sensation. That lady is so very,
very candid, not only about herself, but
about everybody she knows, more than
one person has taken up the book with
fear and trembling, only to realize that
apprehension was not ill-founded.
Everybody has had a good laugh over
the fun she pokes at the size of her
own mouth when she relates that in
America repo 'er wrote that Miss
Soldene's mouth was so extensive that
it would require two men to kiss her"
A chapter which she devotes solely to
the Irish plays of Dion Boucicault will
be found fascinating to all good patri-
OTIS of the Emerald Isle, particularly the
extremely interesting information which
she gives concerning the famous play
colleen Rawn," written, rehearsed and
produced in nine days. The Queen was
SO delighted with it that she went to
the Adelphi to see it three times in one
fortnight, and took such an interest
in the play that the expedition to Kill
larney'-the only visit, 1 believe, that
her majesty has ever made to Ireland
was the direct consequence" Cor
,bould, the academician, painted "by
-
Boucicault, and they We're hung in
Windsor Castle
And where are they now?" Miss Sol
dene asked Mrs Boucicault many years
later.
Why, hanging there still, I suppose"
was the reply.
"Arragh ma Pogue," which was not
less successful, is the subject of a good
story. 'Arraah ma Pogue" was pro-
duced on the night of the Clerkenwell
explosion in 1867. 1t had been arranged
to sing in it THE Wearing of the
Green" but on hearing of the dreadful
catastrophe they substituted Shan
Van Voght." The Prince of Wales was
present at the production, and after
the performance went around to Mr..
Boucicaults dressing room, and while
sitting on table smoking a cigar, said:
"Boucicault, are you a Fenian?''
Dion replied: No, sir, / am not
Fenian, but l am an Irishman.'
Nictorien SardOu is not only a believ-
er in "Spiritisme, which is the name
of his play, but avoWS himself to be
fully developed medium and refuses
point blank to permit any cuts to be
inade-as suggested by Manager
Charles Frohman-before his latest
play is presented at the knickerbocker
in New York. NJ. Sardou has made a
great fortune out of the productions of
his pieces by Fanny Davenport. and it
appears that he believes himself solely
responsible for their success. There
was very little of the supernatural
ch Of + ft,n
plays Miss Davenport presented. and
his tremendous profit was due in the
greatest measure to the realistic man
ner in which she produced them, ex-
pending a small fortune on every play.
There was so much materialism in the
amounts she paid Sardou that he is
rich enough thereby to take chances on
sriritualistic assistance, now that Miss
Davenport has concluded to devote her
self to American plays. Here is what
the extremely modest Frenchman says
about his new play and his reasons for
not permitting the cuts suggested by
the more shrewd and astute manager
who VIII exploit 'Spiritisme."
Joseph Bennett of the London "Tel-
egraph'. has this TO say about congre-
gational singing: In the present state
of general musical education q con-
gregation cannot make music: it can
only succeed in making a noise, posi-
bly, a joyful one in the consciousness of
those who contribute to it's volume, but
otherwise distressing. Congregational
singing may have a wholesome reflex
action upon the singers. but as a con-
secratlon Of art to religious uses it is
z failure and an unworthy offering.
II is time that we cleared our minds of
cant on this usbject, and recognized
the fact that, to alter Millions we'll
known line, Those also serve who only
stand and hear When the lips can
not make melody the heart may do so
and give no offense The example of
German churches is sometimes held up
to us; but can anything be more dread
full than the singing of an average
German congregation? The last time l
heard it was in the Cathedral of, i
think, Bamberg, and then the organ, at
full power, was at least a beat ahead
of the worshipers, who themselves We're
by no means OF one mind"
To a small but good looking literary
monthly Of Indianapolis called THE
1shmaelite," Otis Skinner, the popular
actor contributes short essay entitled
Concerning the Romantic Play" He
objects to the monopoly of the term
romantic" by the drama of incident
just now in vogue He says: "a curl
Gus evidence Of the mutability of pub
lie taste is shown in the demand for
bloodshed and adventure in the novels
rlaVS Int ic ,Ixr