The Indianapolis journal. [volume] (Indianapolis [Ind.]) 1867-1904, 1897-09-26
BILLS AT THE THEATERS
''THE GOOD MIR. BEST' COMES TO THE
GRAND NEXT THURSDAY.
Frank Bush and Chuck COnnOrs in
son the Boweryr at the Park
French Follies at the Empire.

Next Thursday evening at the Grand
Opera House theater-goers will have
an opportunity of witnessing one of this
years popular New York successes. 1t is
the newest and pronounced by many crit
les the best work of that popular play
wright John J. McNally, entitled 1.-THE
Good Mr. Best" and presented by Rich and
Harris's Comedy Company, numbering thir-
ty-five people. 1.-The Good Mr., Best is a
broad musical farce-comedy, constructed
for the purpose of creating laughter. The
piece overfows with crisp, witty dialogue
and catchy music, introducing little of
everything from topical songs to selections
| in grand opera. There are also intricate
dances and host of specialties, ridiculous
~ funny scenes and situations. and bevy
of pretty girls, without which no farce is
perfect
Rich & Harris, managers of the Boston
Museum and the Hollis-street Theater, the
two leading theaters of Boston, claim to
| have provided THE Good Mr.. Best" with
| the best company they ever put on the
road. The scenery is all of a special design,
and every particle of it, in fact everything
used in the production, even the furniture
and bric-a-brac is carried by the company.
| Every accessory that can add to the bril-
| liancy of the production has been carefully
| looked after.
| One of the many novel features intro
duced are the moving pictures. A number
of the principals in the cast are seen acting
| in these motion pictures, scenes which are
supposed to occur in different parts of the
| Best residence. AS the scenes are connected
with the plot and assist in further compli-
eating the matters this novelty has every
where been received with shouts of laugh
| ter and has been much talked about. The
| effect is produced by a combination of the
kaleidoscope and projectoscope and this
| field, which Mr.. McNaly is the first to
cultivate. will probably revolutionize the
stage productions of comedy and melo-
| drama The cast is a large one and is
| headed by Mrs. Annie Yeamans, Josie Sad
| Ter, Kate Dale, Merri Osborn, Camille
| Cleveland, r. A. Roberts, John Sparks,
julius Witmark, Sam Marion and others of
| equal prominence. The advance sale opens
| tomorrow at the Pembroke. Saturdays
matinee is at popular prices.
One of the original features of THE Good
Mr.. Best" is the vitascope assistance lent
| to the last act There were many who as
soon as they discovered what the feature
of that act was, wondered that some one
had not thought to make use of that de-
vice before. The entire episode in which
they are concerned hardly occupies much
over five minutes of the play. The way
these pictures were taken is an interesting
story. In the first place. it was necessary
to get the subjects of the pictures. Then
these were passed over to Stage Manager
Roberts, and he had to compose the action
of each, movement by movement, and give
them to the actors to commit to memory.
The pictures were then rehearsed. Each
movement was numbered, and the action
of the scene, when rehearsed, was done to
the counting of Mr. Roberts.
When those who took part in the pictures
were quite perfect the pictures were made
one Sunday morning. The work was done
on top of a building on Worth street. New
York Stage Manager Roberts, the author,
the actors and all climbed up to the top
loft. and from that floor they reached the
roof by climbing a ladder Up that ascent
went Mrs Yeamans and Miss Cleveland and
Miss Dale with very little fuss-in spite of
petticoats. Indeed, for that matter, it takes
women of their profession to meet with Sc
rene composure such eXigencies. Once on
top they had to pass along one roof and
climb the partition wall to the next roof
where the photographer had set UP his ma
chine Between two chimneys sheets were
hung, making a little room open to the sky.
In one corner a tiny dressing room
where the actors made up. A small set of
scenery was built on one side and when the
player folk were ready the camera was also
prepared The actors took their places on
the little stage. The operator took his posi-
ton by his machine, with one hand on the
button, and his eyes on the sky. He was
watching a beautiful blue patch. and cycling
the clouds as they passed overhead. AS soon
as the open space was over them he said
Ready, now" and Roberts began to time
off the movements by counting zone, two
three" and so on. Camille Cleveland opened
the ball. making one movement to each
count and the film clicked along a notch to
each movement of the actor. In twenty sec
onds the thing was done. and they were
ready for the next.