Evening star., 1897-03-09
AMUsEMENTS.


was scarcely less interesting than the per-
upon the stage. 1t not only tested
the seating capacity of the house, but
made extensive demands on the standing
room accommodations. And it was re-
sponsive audience. The sallies of the COM
edians Everybody on the stage, except now
and then the tenor, Is a comedian in
Casino production) evoked ripple upon rip
pie OF laughter, and musical numbers were
called for several times. Only the fact that
Miss Russell was suffering from severe
cold kept he.' admirers from being unrea-
sonable In their calls for repetitions of her
songs. 1t is, as a rule. not the kind of
music which Miss Russell has been singing,
hut she manages a ditty very well, and al
lows some numbers better calculated to
show her vocal powers than most of those
allotted to her, to go elsewhere in the cast,
conscious. no doubt. that she is secure
against any dangerous rivalry in her sur
Ioundings. The title Of the piece. An
American Beauty was very probably de-
signed quite as much to apply to the star
as to the play. The piece is like some of
the culinary achievements which bid you
ANALYSIS. There is little bit of everything
In An American Beauty'-vaudeville.
comic opera, extravaganza. farce comedy
and melodrama The musical scheme cor
responds In its construction to the spirit of
the story 1t Is likely at all times to turn
up IN some form or another any new thing
or old thing calculated to appeal TO the
rhythmic sense Of an audience. The dia-
rogue and lyrics are SO unpretentiouS that
they suggest frequently an effort on the
part OF cultivated mind to initiate some
OF the lyrical nonsense which both in
humor and in pathos has for some occult
reason been SO Irresistible. Most of the
1ingles are, however. spontaneous as well as
jolly, and 1t would have been sheer affecta-
tlon for composer to attempt sublime
fights of originality in dealing with them.
vxyhf foh for ,,i,
cere vocal effort, and one or two good en-
semble numbers.
There is a lively sprinkling of unhack-
neyed wit. The remark of one gentleman
that his head "is a dome of thought: not
q mere rendezvous for hair is Of itself
a glad assurance that the mere or less
melancholy traditions CT stage humor have
not been too Obsequiously observed. The
orchestra, under the direction of Mr.. Paul
Steindorff, thoroughly capable leader,
added much to the musical enjoyment.
1t would be unfair to give Miss Russell,
whose personal career has contributed al
most as much as her theatrical achieve
rents to making her famous, all the credit
for the production. Many able minds have
bent their energies to celebrating the ideas
upon which AN American Beauty is
built and to the due notification of the
public as to the results attained. Among
the names on the program are those of
Marcus r. Mayer, manager; Hugh Morton,
the author: Gustave Kerker, the music
composer; Geo. w. Lederer, who staged
and produced the performance; Wolf F.
Faik, acting manager; F. G. Ross, personal
representative of Miss Russell; Gerard
Coventry, stage manager; Charles L. Dox,
assistant stage manager, etc, etc. There
are also actors and actresses; these terms
being used in a generic sense. to ap-
ply to all people who endeavor to enter
tain behind the footlights. Mr.. Harold
Blake has good tenor voice and a pleas
ing presence. and Mr.. Jerome Sykes inter-
preted the comedy in his role in manner
- fol,
cluding the prima donna. Few engage
ments have opened SO auspiciously that
of IAN American Beauty" While not the
most effulgent of the Casino productions,
tuning is literally provided for-quality
rather than quantity being the object-and
were 1t not for the manner In which pre-
vious enterprises have injured large pro-
portion of theater-going people to studies
in art anatomy. might be pronounced dan
gerously audacious. There are three acts
of the performance, each full of sparkle
and color in the stage pictures. and pre-
sented with conscientious vim by all of the
players.
rare that local theater manager will book
a play for two weeks. The performance
must have drawing powers far beyond the
average. The Bostonians. "rrilby' and a
few similar high-class organizations have
held public interest for two weeks at a
time. and now the Heart of Maryland"
must join this small but decidedly select
company. The gathering that saw Mr.
Belasco's masterpiece last evening at the
Lafayette Square Opera House was a large
| one and despite the counter attraction of
Lillian Russell. many well-known faces
were among the auditors. The story of
| the drama was closely followed, and ut
| times interest broke out in uncomfortable
| enthusiasm. Not the least feature Of the
production are the stage settings. When
| the curtain arose with the stage empty the
| audience cheered the picture The success
of the play is now beyond question. an1
| comment Is superfiuous. The climax is, of
course, the belfry scene, when the heroine.
| clasptng the iron tongue of a bell, is swung
| to and fro, high above the village church,
| thwarting those who were trying to raise
| an alarm over the escape of her soldier
SW eethcart. The enthusiasm of the house
Brought the two leading characters before
| the curtain to respond to the cheers that
| came from parquet and gallery. OF Mrs.
| Leslie Carter's ability emotional
| actress the public has already judged most
| favorably. Perhaps her most powerful
| scene is that in which she shows her grief
| for her brothers death. Her wall of heart
| broken sorrow as she filings herself down
| at the table rings as true as the severest
| critic would ask.
New National Theater-The antics of the
Black Sheep and his numerous shepherds
and shepherdesses amused large audience
| at the National Theater last night. Ho
| Stun, Under Dog the shooting editor of the
Arizona Inscription. and all the rest of the
merry crew were in good trim and made
this, one Of the liveliest of Hoyt's plays, t
pass of with unusual snap and vim. The
Black Sheep is Mr.. Goodrich Mudd the err
ing son, who goes to Arizona, where his &c
centricities and peculiar charac cteristic.
cause him to be dubbed by the citizens O
Tombstone Hot Stuff" The play OPEN
with the appearance of a New York lawye
| to find Goodrich Mudd, who has come int,
the family estate. A stranded burlesqu
company figures in the first act and fur
nishes opportunity for the introduction O
some characteristic Hoyt-like specialties
Hot Stuff does not want to return to New
York and resume civilized life but hi
friends. moved by sincere interest in hi
behalf, organize lynching party to Ri
Tombstone of his presence. He conclude
that If he must make his exit it will no
be at the end Of rope, SO he goes back t
New York and takes the stranded bur
lesquers with him. The mex: two acts shift
the scene Of action to Hot Stuffs Ne,
York home, where his friends of the bur
lesque troupe make things lively, and tn
villain of the play, his cousin, is finall
foiled In his attempt to cheat Hot Stuff ou
of his inheritance. All the characters Q
the play are well taken. Otis Harlan, a
Hot Stuff, was the central figure when
ever he occupied the stage. His inexhaust
, ible supply Of animal spirits seemed to b