The Saint Paul globe. (St. Paul, Minn.) 1896-1905, 1897-04-04

rendered by Jessie Bartlett Davis. speak vol
umes with music lovers. This week a duo for
bass and tenor. given by Eugene COw.es and
William Philip is announced as a feature of
the third act.
Frederick Bryton tells of a curious expert
ence on the road while starring in For
given He was in a. California town of, per-
at was past o'clock" said he land al
though the members of the orchestra were on
hand. they made no effort to strike up. My
manager fumed and sWore, and, finally, not
seeing the leader in his place sent for the
violinist. who asked, with great unconcern,
what the trouble was! ns2l'HF r- 9H1
'Troub.eT said my manager. why don't
you strike up? Where's your orchestra
LEADER?
He's gettin' shaved replied the must
clan. 9UHt.e s.5
We'll, why don't you play just the same
It's nearly $3.50. Where's the local manager?'
g He be doin' the Shawn, was the re-
ply
1.-THE ProdigaI Father will follow 1.-The
Showman's Daughter at the Grand. The
piece constructed for laughing purposes
only, and 1t is said to fulfill its mission. The
plot centers the escapades of Stanley
Dodge, who misses his ship to Africa through
flirting with an actress. HIS son becomes a
prodigal. marries the actress and regular
mix-up results. The complications are or the
mostamusng kind and the fun is constant
from start to finish.
Manager Jacob Lit announces for the
benefit of the patrons of the Grand opera
house an important change in the usual pro-
gramme for the summer season. Instead or
combinations it has been decided to present
high-class vaudeville entertainment, begin
ming the week of April IS, and continuing
as long there Is demand for this kind
of entertainment. Clean. vaudeville is just
now the most popular form Of amusement In
all the large cities. So great indeed, is the
demand for it that 1t has attracted many OF
the best actors. People like Maurice Barry
more, Lew Dockstader, Robert billiard. Marie
Dressler Fred Bryton, Fred Hallen, Mollie
Fuller, Pauline Hall. Verona Jarbeau. Sid
ney Drew. Mckee Rankin and countless 9TH
ers of exceptional ability have entered the
vaudeville fed within the past season. and
have achieved great success. They have
raised vaudeville far beyond that which was
once contemptuously called variety" There
Is no kind Of stage performance more d.
vertlng. when given by clever people: MT
Lift will engage the best talent available.
DESPITE the gIories Of the dramatic season
which has now passed the high-water mark Of
are thousands Of Neg Workers who regret
as they have annuaaM regretted for term
Of years. that our in2ses OF shakespeare
York Mail and ExnEesss Indeed. with the
exception Of Irving. @SlNi is foreigner New
York now depends MsAssst wholly upon two
or three women OF thsg5 stage. and upon a
productions as we EaAgn,ze to be worthy
efforts This compaAstte monopoly by the
ladies' notwithstanding It's enjoyable features,
naturally confines cur fieeting pleasure to a
few comedies and a-sinkae tragedy, and robs
US of those heroic stage figures in which
50 much Of MISUNDERSTANDING greatness has
been achieved in or5Ae.geRerattens
That ShakespeaI s=fBt@stage USE Is prac-
tically dead dying no man OF intelligence
and information is sHkety to admit He is
dormant 1t has been said that three events
In the literary history Of England tended
beyond others to raise the public mind
out of the barbarism and ignorance of the
early times-the translation OF the Bible. the
works Of Bacon and the dramas Of Shake
speare. The latter may pass through an
era of adverse popular taste or pauclty
of talent adequate to their acceptable pre-.
born to die or to rest permanently upon the
shelf.
But Shakespeare must be moderrized for
the twentieth century as Colley Cfbber and
others brought him up to date for the eigh-
teenth. Manager Days presentation Of GER
tain Of the comedies marks the line along
which revival will eventually become general.
Such ''tinkering" as he has been accused
of represents the surest method or bringing
back to familiar contemplation the greatest
Of dramatists, and in no way Injuries, in the
discriminating view. the value of the play. It
is true that we no longer will accept isolated
greatness in the midst of mediocrity or worse.
We want no stars supported by sticks What
many now accept when the opportunity Is
given will eventually bel accepted by the peo-
pie of this and every city which pretends
to culture-constant production OF even merit,
with liberty but not license in dealing with
the lines and the scenes, and the whole set In
such exquisite frames as have been the DAILY
productions referred to.
When we have brought back the comedies.
the tragedies will follow Only let US break
away from the bugbear tradition, cut and
slash IL need be for the stage and reserve
the bard unscathed for the library, and the
new generation will discover beauties of
which 1t had been skepticai. and become in
terested where now ut would be bored. Let
US have our Shakespeare like our coats.
cut UP to date, Il this be necessary-as
seems certain-to rescue It from the theatrical
storeroom Let US encourage those who have
beer bold enough to take the initiative.
The average star today is only the lead
Ing man or woman Of good stock company.
This fact paves theqwag for the hope that
the Bard Of Avon will stiii be with us when
sardou and Ibsen age forgotten. And while
we await the modern treatment that will
attract the modern audience. we have an
abundance Of ether things with which to
pass the time