Evening star. [volume] (Washington, D.C.) 1854-1972, 1897-11-16
AMusENENTs.
LAFAYETTE SQUIRE OPERA HOUSE.


The Casino productions have easily as
sumed the lead in a form Of entertainment
which is more than vauAeville and less
than farce An audience SO large as to
make demands on the startling room space
laughed. appiauded and demanded encores
with a persistence that caused the initial
production of 1.-The Belle, Of New York;
outside its native city toV run until Ii: 80
o'clock. To allow an entertainment to con-
tinue so long is one of the severests tests
that the management can apply, but the
singers, dancers and fun-makers respond
ed to encore demands with an oblig,ng fire.
quency which show ed they had reason to
trust their abilities to mafAtain interest
1.-THE Belle of New York" is a glittering
succession of intangible trihes. There is
not enough story in the piece to interfere
with the specialties which follow one an
other like notes in a sunbeam. Whether
1t inspires a ''ha-ha" or homily may de-
pend ON the mood Of the auditor. Yet it
is difficult to suppose that a disposition to
sermcnize could assert itself in the actual
presence of SO much unbridled hilarity If
1t occurred at all, it would be an after
thought-a reactionary development. The
book by Hugh Morton and the music by
Gustave kerker are conspicuous for their
lack of pretenSions. In the presence of a
production like this one it is difficult to
realize that Offenbach was denied serious
recognition as a composer, or that the
sprghtly but sane productions of W. S.
Gilbert were received as bona fide frivoli-
ties. A challenge to comparison with
standard achievements in wit and song are
however, avoided: the current mood of the
play-going populace is the only source of
inspiration acknowledged and any defects
in the artistic proportions of the piece
itself are successfully hidden behind bill
Lowry clouds of lace and an array of we'll
filled hosiery.
There is no danger that prudery will be
held up as an Objectionable feature of the
performance. Theatrical ventures of a GER
tain type which have recently started from
New York to permeate 1.-The provinces"
have appeared to be animated by an ambi-
ton to make Paris seem like Quaker sub
urb. 1.-The Belle of New York. is not
wholly distinct from these creations. yet
fortified as it is by Casino traditions. which
give tacit notice that the unconventional
will hold sway, it cannot justly be CLASH
fled with the less polished and less discrim-
mating efforts in a similar general direc-
ton.
Rich and beautiful as the scenic equip
ment of the piece is the company is by no
George w. Lederers skill as a stage di-
rector is eminently in evidence. Colors are
blended with delicate harmony, or project
ed in riotous confusion, and long list of
clever people take the center of the stage
in turn. each. for the time. impressing him
self as a luminary of magnitude. Mr.. Dan
DAILY was heartily welcomed in the role of
president of the Young Mems Rescue
League anu AHti-S1SdTtlto society Oh Co
hoes" Miss Edna May looked pretty and
sang sweetly in the role Of the Salvation
Army lassie. who furnishes the title of the
piece William Cameron as "Blinky Bill"
gave a highly entertaining picture of the
tough citizen supposed to be indigenous to
the Bowery. La Petite Adelaides dancing
is, to use the trite encomium. "alone worth
the price of admission" The number of
entertainers Is too great to permit indi-
vidual mention. AS whole, 1.-The Belle of
New York. is one of the most interesting
phenomena yet developed by this somewhat
delirious theatric era.
NEW NATIONAL THEATER.-As the
title implies, the drama of the "Sign of the
Cross deals with the trials and suffer
ings of the early Christian martyrs 1t
one, replete with narrowing scenes that
form a dark background for acts of self
rlartyrdom. There. are many powerful
lines III the play and passages of intense
permitted to relax its consciousness Of
the sufferings of the Christians and In the
torture scene. when the shrieks Of the
boy who is being broken upon the wheel
resound through the darkened theater, a
visible shudder goes through the audi
ence. The scene is laid in Rome in Nero's
time and the cruel Caesar himself is a
prominent figure of the drama. A little
band of Christians have been condemned
to be thrown to the wild beasts Of the
arena and Marcus Superbus, the project
of Rome. charged with the execution of the
order. Among the victims is Mercia, a
beautiful Christian maid. pure as she
is lovely, and the Roman project desires
to possess her. The companions OF the
girl are captured and she is taken to the
palace of Marcus. He tries in vain to win
her and in his rage asserts the authority
of the captor, when demonstration which
he regards as supernatural battles him.
His passion for Mercia giving way to true
love- Marcus pleads to Nero for her life,
hut fho al hal rl4
must renounce her faith or face the lions
in the arena. The victory of Berenis, the
scorned woman, who loves Marcus and has
brought about this edict, is manifested
them at this point is dramatic. Mercia
refuses to renounce and in the closing
act Marcus espouses Christianity and goes
to the slaughter with Mercia. The COM
plays the part of Marcus Superbus, and
a noble Roman he is. Mr.. w. E. Bonney
In his Interpretation of the character of
Nero shares the praise bestowed upon
the cast and Miss Irene Rookie as Mercia,
earned many plaudits. Miss Gertrude Bos-
well, as Stephanus, the boy who was broken
on the wheel, won her way Immediately
into the hearts of her audience by her
1orie Cavanta as the Lady Dacia, Miss
Elite Williams as Berenis and Miss Marion
Gray as Poppea, filled their parts accept
emly. The scenic effects of the play and
COLUMBIA THEATER. 1.-THE Grip"
written by Edward Harrigan, in which he
appeared as the star last evening at the Co
lumbia, is hardly up to the standard of at
fractions at that theater. Mr. Harrigan
calls 1t farce, and no one will be found
to dispute his contention in that direction.
1.-The Grip" Is Sc very much Of a farce
that it hinges on boisterousness. Mr.. Har-
rigan. of course, occupies a sphere almost
by himself. AS an Irish comedian he pos
sesses style peculiarly his own. and ranks
among the leaders He has done SO for a
quarter of a century, and some of his char
acters have become classics in their line,
but in this play mis- hand seems to have
lost its cunning. Supporting him is Mrs
Annie Yeamans, who does her best, as do
the other members in the cast with the
material furnished, but even they cannot
make the piece success. The audience was
not large. and the ill-concealed dissatisfac-
ton and disappointment of many who hoped
to be entertained BODIED i'll for the rest of
the weeks business
In addition to Mrs. Yeamans the female
roles are interpreted by Miss Ethel Bar
rington and Miss Jessie Wyatt. Mr.. M. j.
Kerney displays versatility in acting three
parts widely different in character. while
Mr.. George Merritt and Mr.. James Kearney
have two each to look after. Mr.. Harry
A. Fisher, Mr.. James Cassidy, Mr.. Dave