davidaulloa/AmericanStories huggingface dataset:
The times., 1897-04-11

which its lightness and delicacy fits 1t
at the wrong time of the year. Inc very
contingent who flock 10 the LSceuin IN
winter go TO the mountains, the seashore
and Europe in summer, and there is noun
ing higher and dryer for the bhsterng
rays of the summer sun than the pretty
home of wholesome plays for wholesome
people," to quote from the Lyceum pro-
gram.
Another reason il s likely to fail over
there is its distinguishing charms, refine
ment and purity. If instead of burglar
the man locked under Key had been an
adventurer, or if her Cousin Allan's pur-
poses of visiting her, via the watersp9ul
and balcony, had been less proper, New
York would find it quite to It's palate
Again, Annie Russell takes away from the
piece the possibility of realizing the far-
cical promise Of the plot The causes or
good farce are nonsense, something eN-
trayagant, the unusually ridiculous; ius ef-
feet is spontaneous and uproarious laugh
ter. Miss Russell S anything but nonsen-
steal or extravagant in her Subdued, dell
cate manner Sheis natural. and when she
is not natural she is idyllic. But she has
no sense of the hilarously ridiculous, or
if she has she is too gentle and sweet OF
manner to assume the romp.
Henrietta Crossman, or Mrs. Boucl-
cault, would have made lomping' 1of-
licking success as Betty. Perhaps Mrs
Ryley does not wish her part to be played
as they would Then, she is out or Key
with her farcical mood. Farce requires
broad, free action. 1t may be refined, IL
NAV be subtle, but it must have the free
dom and breadth that the caricaturlst
nuts into the sweeps of his pencil. The
complicationsof" "Mr .Bugle'' are not always
diversified Some times they entangle
the audience, and the author seems either
to have been burdened with poverty OF
a wealth OF incident at the end, Tor the
curtain seemed inevitable several umes
and nothing seemed gained in fun CT con
sistency 10y not rounding off several points
before the present ending.
Joe Holland is perfect example OF the
broad and free, but refined aud subtle far-
ceur. He takes in the whole stage IN lis
action his transition from calm TO sur
prise, or back again, are effected with I'M
mista kable denotement, and he has an
irresi stible sense OF the ridiculous per
meating it all that captivates his hearers.
And how much more remarkable is all
this when we realize that this fine, hand
some fellow is so deaf that he cannot
hear his companion players, and has to
take cues 10y watching their lips or count
ing intervals. He never makes T;ista6e,
never looses a point 1t is too lad that
his ears cannot be tickled by the soft
ripple of laughter that follows lis every
Snaach as we'll as the bursts Of applause
which punctuaUe his big points.
The times., 1897-04-11

Managers and dranatists are now travel
ing around with satchels full or novels for
adaptation for the stage. The dramatic
rights of story were never considered OF
much account until lately, but now, since
1.-The Prisoner of Zenda, F" ''Trilby," and
some others have been so remunerative, the
old abhored dramatization OF novel has
become the adored of the managers
Whether t will be so long or not, 1t is SO
now, and that is enough.
1t opens u field for speculation as to
what makes the vogue OF books and plays.
There is speciessof craze arrives every
now and again that is more or less un-
accounta BILE 1T is> not development OF
artistic taste 8yenSif it may involve that
element: it is not an intellectual advance,
even il there he something intellectual in it,.
Hall Gaines novels had very large sale
and created, irTsoirs instances as much ex-
citem.atas Anehons Hopes. Yetwhen viii
son Barrett made them into plays, and very
cleyerly, too, they failed to attract any
attention. There have been other novels
dramatized which have not found favor,
The present rage for fiction on the stage
owes something to curiosity TO see in action
the storS WHICH HAS iioe'e''D' ~ ~
form. The dramatizations so Tar, Win
but few exceptions, have not entirely
removed the idea that novel does not
make good play In fact, even "Trilby"
is proof that it does not. The play by PAU
Potter is not a success Oh the same interes st
which was most potent in the story.
A drama, as a rule, must necessarily
leave gaps i'll the tale. and unless new
interest be infused INTO it by some differ
euce of phrase the play taken from the
novel will be tinsatsfa ctory. MIR. Hope
ana Mr.. Rose realized that and made The
Prisoner of Zenda" more play upon The
same Incidents were found in The
novel than mere dramatiZation. Every
body who read it believed The Prisoner
of Zenda' would make q good drama, and
The times., 1897-04-11

s. Goodfriend is spending goOdly poI-
ton of the spring in Washington Its not
often that press representative is vOuch
safed the distinguished pleasure Of remain
ing three weeks or four in the Capital.
Mr. Goodfriend came first TO look after
''Spiritisme;' he remained TO present
Henry Miller in .-Heartsease'' properly be
fore the public, and he returned last week
to advise the theatergOers that Olga Neither
sole is about 10 arrive. How valuable
man Mr. GoOdfriend is in heralding an at
traction may be seen in his conscientious
and creditable work for these attractions
The times., 1897-04-11

they were right; but they also find that
it is becauSeit derives something new from
the dramatizaton.
So far as romantic stories go, they have
great possibilities nowadays, since most
of them give chance for spectacular dis
play, and there is 10 picture that is inn
possible of presentation on the stage.
There is no limit TO effective stunning,
to lighting, to scenic effects. The pro
fession has plenty of handsome men and
strikingly pictorial women. The actors
are the pick of fashion or the most gor-
geous of romantic figures; the actresses
set the fashion iii modern dress and are
as beautiful as dreams in romance. The
stage scenes can be made visions, and
there is nothing that can be in the world
of fancy that cannot be realized ON the
stage. This should throw open the whole
range of romantic literature to the DIR anna,
and it probably will.
But it all will have to be altered to
suit the times. The book stories must be
recast The romantic hero must behave
not as the brains which created him saw
him, but as we see him. We will not
listen to the old long speeches. the glow
ing language, etc. The romantic hero
must come down to our level We Will
stand little exaggeration, little poetry,
n little affectation; but not the orations,
even If they have been written by o
master hand And that is the difference
of stage adaptation Of romantic novels.
Even in thoselate picturesque stories which
are finding their way to the stage the
speeches in the book would sound dreary
In the play.
In 1.-The Prisoner of Zenda," the credit
due to the book can not be forgotten, but
in all those romantic stories the dramatic
is the taking element. even when 1T is only
word painted. 1t is doubtful if Hope s
story would have been dramatizcd if Dan
iel Frohman had not been in need of q
play for Sothern and induced the author,
Edward Rose, to put it in shape. Itopened
the way and gave the greatest impetus
to the romantic craze.
A number of the actors in the present
cast of "Jim, the Penman" were in the
original New York production, but they
are not playing the parts now that they
did then. Harry NJ Pitt is, however, again
In the role OF Louis Percival, which he
PLAYED with so much distinction the night
that this PLAY made such hit at the
Madison Square Theater. MIR. Pitt is the
husband OF Fanny Addison Pitt and the
father of Addison Pitt, Charles Dibdin
Pitt and Margaret Dibdin Pitt, who have all
The times., 1897-04-11

The Actors Society is going to wage war
against Sunday performances in Cincin-
natl. II seems that a very inequitable
state OF affairs exists in the Queen City
1t is against the law to give Sunday per
formanCes, but no arrests are made until
after the performance, and then the actors,
and not the managers, are arrested, jailed
and fined The Actors Society has re-
ceived evidence sufficient To warrant a
vigorous campaign against thisinexcusable
form Of persecution, the victims of which
In many cases are threatened with ,is-
charge ifthey refuse to playon sunday and
subjected To arrest and indiguity VT en-
they comply.
The times., 1897-04-11
NEW PLAYS THIS WEEK.

sousa's Band will be heard for the last
time this season at the Lafayette tonight
Those who remember John Philip SouSa
as the leader of the Marine Band are not
surprised at his great popularity In the
larger field of operation, which the en-
tire country has opened for him. Sousa's
Band is more widely known than any
similar organization in the world, while
the musical compositions which h bear
SOusa' 5 name are heard in every portion of
the country. One would almost wish that
King Cotton ".El Captain" 'Manhat-
tan Beach," High School Cadets" and
Liberty Bell marches had never been
written, so constantly are they dinned into
the ears from every variety of instru
ments by every species Of players. But
rendered well. there is such an irresistible
charm about them that it is not difffcult
to understand how they have been so
greedily seized upon. He always plays
some of his own compositions at his Con-
Certs
The times., 1897-04-11

Lafayette Olga Nethersole in repertoire
Tonight, Sousa and his band.
Columbia THE Prisoner of Zenda-"
National -"Chimmie Fadden.''
Academy-"A Texas Steer
Grand Jim the Penman."
Bijou-"A Soldiers Sweetheart"
Keraan's -Rentz-Santley Company.
The times., 1897-04-11

opportunity did not arrive for him to dis
tinguish himself. The vaudeville is the
present resource. Mr, Morris will show the
patrons of the houses where they do acts >
what acting is. He is an artist in
every fiber, and it is too bad that legiti-
mate vehicle is wanting to retain him for
the standard drama.
Going into vaudeville has ceased to carry
with it the social strain upon an actor 5
reputation that it did formerly Vaude-
Vile is, in its present hey-day, little
morethan NEUTRALITY-SUSPICIOUS., horizontal
bar performers, musical mokes and SOU
brettes.
In that strata of thespic life we may
now encounter not only Felix Morris givin &
one of his delicate character curtain
raisers, once the pride of Daly's, but Maui
rice Barrymore is the same Man OF the
world who drew all New York to the
Madison Square Theater for an entire
season; Auguste Won Biene, a musician
and an actor too artistic for a melodldaiatc
house; John Mason and Marion Manola,
once well up in comic opera and comedy,
John stone Bennet, whose name is side
hv side with the immortal Jane in
tn eatric al history; Seth Miller Kent
the Pounding OF two years; Charles
Dickson and his wife, Lillian Burkhardt,
who were stars in ''Incog'' and "a jolly
Good Fellow" Bert Coote, q brother of
our Charley Coote, and once a star III THE
New Bow Frederick paulding, one of
the promising young tragedians of the
roster ten years ago; Sibyl Johnstone, who
plaved LA in THE Clemenceau Case and
"Trilby;" Frederick Bryton, for years a
star in Forgiven Grace Filkens, an ac-
complished leading woman, best remem-
bered for her performance of Helen, in
''Shore Acres;'' besides Signor Perusini,
Nine Cottrelly, Pearl Eytigne, Joseph
Wheelock, . scar Eagle, Esther Lyons
and, lastly, Clara Morris, who, shades
CT Dumas and DAILY! is going to Go thirty
minutes of Camille!'
The vaudeville patrons are to be con-
graduated If the mountain will not come
to Mahomet let Mahomet go to the noun
tain; Just so, il the public viii not come to
the legitimate, the legitimate must go to
the public. The public is to be found
in the vaudeville house. Equally to be
congratulated is the legitimate drama.
not because of the detection of any unde-
siraDle actors, but because good actors and
real ar lists have gone into the bali
wicks of the wrong idea of sane diversion
and entertainment, and has wrought
The times., 1897-04-11

Reerbohrn Tree, from all accounts, in
tends to open his new London Theater with
Gilbert Parker's 'Seats of the Mighty"
in spite of the unfavorable criticisms it
received in New York Perhaps he is
Justified in this from his knowledge of
improvements made in the play 10y Mr..
Parker and himself, and it may be that
he would repeat the history of a certain
distinguished precedent, which IS Wilson
Barrett's experience with 1.-The Sign OF
Cross BE produced it in America first
and il failed He tried 1t on London, and
it was the hit of the year. But suhse-
uuent trial in America did not reverse the
first opinion of the public or the press.
Full of the serenity of Thanksgiving time,
the washington critical contingent were
very kind to Tree and his play Allow
ances We're made for the imperfections
of a first performance, which had been Te-
hearsed on shipboard and for days and
nights while another play was being pre-
sented The effort was dignified and ann
bilious and in every way worthy OF the
tolerant consideration given it But the
best play ever written would fall beneath
the weight of Trees inoompetencies. He
is retrograding in his art every day. His
mannerisms are so apparent and insistant,
his distribution Of force so weakening and
his superiiciality apparent that he VIII
force himself out of the class into which
others will have TO tell you how he ever
arrived A witty paragrapher remarked,
on noting that Tree was presently to pro-
duce 1.-The Merchant Of Venice" that if
he progressed in femininity as he has in the
mast he would doubtless cast himself for
Portia
A member OF a well-known club in New
York, 10 which the actor has entire. noted
that an Englishman and Il very particular
friend of Tree remained away from one
of his first nights, and demonstrated
with him. Replied the Britisher: "The
endurance of friendship has its limita-
tons. You ask too much"
1t is unlikely that Tree will soon come
back to America. He had too stinging
slap in the Reputation of his play by the
critics, and the persistent absence of
the public from the theaters where he
appeared John Hare, too. is likely to
warm his heels at London's fireside next
year. and for some years to come. AT
least until he can bring us new plays
and good plays, and can overcome his un-
diplomatic inclination TO toady TO the
anglomana of some few Ameri can
plutocrats His free use of his appear
ance before Mrs. Guelph, at Windsor. for
advertising purposes is in distinctly bad
taste And it hasn't dra wn any money for
him, either; no more did Arthur Bou-
chier feather his nest with the dollars
of anglomaniacs eager to see the favorite
godchild OF the Baroness Burdett Coutts, y
nor Beerbohm Tree with company from
q theater existant only in the architects
plans and named after the Queen.
Hare is good actor; an accomplished
artist; but he is not so good as Mr.. Stod-
dard, as Goldfinch, or SO satisfying as
Felix Morris, in THE Quiet Rubber" He
does not weigh down in the balance with
others seen in the same characters. And
above all he should bring new plays. He
should unlearn the mistaken idea that
The times., 1897-04-11

Those who saw John Drew, Maude A dams
and Ethel Barrymore in Rosemary will
appreciate the just and pretty tribute in
these lines, written by Harry Mills:
No wonder dear Dorothy kindled fire
In theloneIy old heart ofthe bachelor squire;
But how in the world could he live and die
single
With Il girl like delicious Priscilla at IBgle?
The times., 1897-04-11
Home Training.

"To what do you ascribe your remarkable
walking ability? asked the reporter
Twins" laconically replied the profess
sionaI pedestrian. Cleveland Plain Dealer
The times., 1897-04-11

he is more attractive than the parts he
plays. He is not. The people want new
plays from him 1t Is very delightful to
see so good an actor as he in a good play,
but scarcely is he potent without good
fresh material
The times., 1897-04-11

So great is the demand for Olga Meth
ersoies Carmen" that she viii present
it at every performance of this week at
the Lafayette. except Friday and satur-
day nights. On Friday night her excep
tional production OF Camille viii be
given for the only time. and on Saturday
evening a special fare wei bill VIII be given
of exceeding interest. For the first time
since She has teen in this country she is
surrounded by a company OF actors. who
with two or three ex cep6ions, are AmerL
cans, and 1t is declared to be the best com
pany she has yet had The leading man
is Nathaniel Hartwig, who was last season
with Marie Wainwright. Hartwig be-
longs to the younger school OF leading men,
anu was educated in the schools and col
Ieses OF New York city. While it is true
that his future is still before him, ne has
given sufficient promise to warrant the
Messrs. FrOhmen in placing him in his
present responsible position. Others in
the company who are well known are Annie
Clarke. so long identified with the famous
Boston Museum Stock Company Miss Hem
rietta Watson, Frank Lander, Bruce McRae,
John Blair, Robert PateInan, for years
Identified with Edwin Booths productions;
Miss AIexes Leighton and Miss Violet
Black.
The times., 1897-04-11

Sir Charles Youug's funny English So
ciety drama, Jim, the Penman,'' viii be
seen at the Grand Opera House this week
1t is essentially an English production in
every particular In the first place, every
scene is laid in England, every character
in English, consisting OF representations
OF both branches of the House Of Parlia-
ment, finsnciers, professional and busi-
ness men; andlastIy, because it was thought
out and rounded into tangible form by
one of the brightest Of Engiands drama
lists and political leaders, Sir Charles
Young, Bart The play was first pre-
scented in London at the HaytuaTket square
TheateT. where it ran for 500 nights,
and latterly brought to America and pro-
duced by Mr A. II Palmer, at the Madi-
son Square Theater, where another phe-
nomenaI run was had of nearly two sea
sons. The play has been sent upon the
road this season with remarkably strong
cast, stamped with Mr.. Palmer approval,
and has been received everywhere like
an old friend.
The times., 1897-04-11

there the truth OF the drama. 1t is
crusade of education on the uneducateds
own ground When they realize what
they are missing they will come to the
theater where art is maintained In / is
integrity. That is the cheerful way
to look at the present stampede into
vaudeville 1t is not only cheerful, hut
1t is submitted as rational and sound
The times., 1897-04-11

The perversity of human nature is per-
baps in no way better exemplified than in
the misdirected ambition of actors 1t is
seldom that man is found who is con-
tented with his lot in life or sa tisfied with
the particular calling that he is compelled
to follow. Perhaps it is well that this Is
so. for contentnent is always the enemy of
progress Ask your barber how he likes
his trade, and he will tell you that he ought
to have been q physician The peaceful
The times., 1897-04-11

Everybody's favorite comedy, "a Texas
Steer" comes to the Academy this week
"a Texas Steer" is a satire on the ponti-
cal method by which statesmen are made
and patronage distributed in this country
Maverick Brander, haTdheaded, keen
witted, Texas cattle-raiser. is, against his
Will, at the instance of his wife and daugh-
ter, made candidate for Congress These
ambitious and enterprising ladies Sc
cure the pull" in the district OF three
Texas politicians, and they, by the liberal
use OF the contents Of the Old mans '.baF1'
unknown TO hiIll among the eolored voters,
and by the promise of an office TO the
leading cOlOred politician. in spite OF his
protest, secure his election to Congress.
The scene changes TO Washington, where
the adventures OF this Texan family in be
coming initiated into the ways Of society
at the capital, and Brander' S introduction
into the mysteries OF the lifeOf a Congress
man in Washington, furnishes three acts
Of one of the most laUghable comedies OF
the present generation. The company is
headed by William c. Vaudeville, Barry
Maxwell, and the original cast
The times., 1897-04-11

appeared here from time to time in juvenile
roles. Mr.. Pitt has many friends in Wash
ington who welcome him cordially on each
return
The times., 1897-04-11

Flora Stamford is a young star who has
not yet been seen on Washington stages.
She makes her local debut tomorrow night
ut the BiJou amily Y Theater in a play, "A
Soldiers sweetheart in which she has
throughout the South appeared for some
time. The play is quite as much novelty
to Washington as the star, and the pleas
ant entertainment promised by the piece,
the star and the supporting company Will
have the flavor of novelty 10 those who
see her this week In addition 70 the
evening performances. Miss Stamford viii
present ~ Soldiers Sweetheart at four
nlatinees during the week. In addition
to the dramatic action OF the piece and the
comedy clement occasion is taken 70 in
troduce some specialties
The times., 1897-04-11

The wheel OF fortune has drawn Felix
Morris into vaudeville. He is the latest
of the actors who are artists TO earn the
furtive dollar by doingsa turn. he
will do a one-act play. Probably The
Old Musician Mr.. Morris is an English
man by birth and perhaps temperament,
but he made his Beginnings as an actor
in America, and his latter days have been
spent on our stage John w. Aibaugh, OF
this city, gave him his first spea aking
part t was while Mr.. Albaugh was con-
ducting the stock company at Albany, N.
Y, in the early seventies. Mr.. Morris had
been carrying spears for short period,
when he came to Mr. Albaugh. In those
days the stars Travelled with Their plays
and the companies remained stationary.
The times., 1897-04-11

One of the stars to come to Albany was
Lolita, a. nd her play was "Musette. Nor
ris was given a character part, ana the
genius that was in him shone out radiantly
He made hit at once. The way was easy
for a while. Soon Rosina Vokes picked him
up and he shared her leading roles with
Courtenay Thorpe. When she died he
starred or his own account for brier ana
sadly unsatisfactory period Then he
went back To England Last summer Daniel
Frohman, in the course of that wonderful
bicycle trip of his, arranged with Morris
that he should join the Lyceum stock, lie