Kansas City journal. [volume] (Kansas City, Mo.) 1897-1928, 1897-12-19
Taylor and Earchner. the musical team.
in their several duets.

III Their several duets
To-day, says Blanche Marsden. we don't
see any tomboy plays for ski;tisr ladies,
IN short skirts. blonde wigs and girly.
Palmer wigglod through three acts OF 'Mly
Sweetheart" or since Lolita took the mid
Ole OF the stage to save her father, and
bring the curtain down. ''Mliss' died with
poor Annie PiXley, and "Fauchon'' ceased
10 attract attention when Maggie Mitchell
made up her mind that she was old enough
to know better. and stopped ddncing III
the moonlight to the shadow.
In French theaters the doctor of the
theater has a seat given him for every
performance. lie must be there every
evening. Naturally, after he has seen the
same piece Il score of times.
Rot, he longs TO he elsewhere. and
Do'" prefers to give his seat to
Good some of his friends. NJ. En-
Fellows" est Blum says when he was
q young man n friend. the
doctor of the Thcater Porte
Saint Martin, gave him his seat. Just as
he was becoming interested in the first act
the stage manager rushed up; the heroine
had a nervous attack, and required, med
zeal aid. Blum had nothing else 10 DO but
to follow him. In the lady dressing room
he found the manager with anguish de
pictcd on every feature and the lady wiring
ing, her hands and s~hrieking;
Vow. doctor. quick! What's to be
Blum grew as red as a lobster. and as he
cG4ld not say anything. h. Just calculated:
| Ii III Let Us STE. 1T US see.
| to feel her pulse. She shrieked more than
ever, and writhed like a snake:
Have you poured any water on her
head he asked.
And no ~effect?"
Then don't pour any more"
After this display OF medical knowledge
he continued:
Give her Il sniff of eau de cologne"
Haven't any" was the answer.
Then so fetch some
OF rushed the manager and the stage
manager, and Blum was left with his pa
tent.
suddenly she opened her eyes and smiled.
low. amt YOU"
Yes. ma amSelle."
You must be. doctor. Now listen There
is nothing the matter with me. You would
have found that out soon. | want a couple
Of days off. Cant You manage it,
"Deiighted,' he replied. joyfuily. Now,
ma'amseIle. you're a good fellow. too. l am
not q doctor. ! came in on the doctors
ticket. 50 You must not give him away"
by this time the manager and stage man
aTer came back, each with a bottle of eau
de cologne. He told them that it was un-
necessary now: the lady was quite com
posed. and could appear without any; dan
ger. But she must have a few days rest
They made WY faces. but granted the hol-
iday. -
London, Dec. lS.-Clement Scott. the
dramatic critic. has stirred up a storm by
the circulation of advance sheets Of an in
terview for Great Thoughts. attacking the
morals of the stage. His ut.
cI FmFNI terances are based on the most
intimate lifelong acquaintance
ScCTTS with the personnel of the pro-
.. feSSion. and his position as
DILEMMA. dean Of the London critics
gives his views Importance.
Seeing the advance reception. Mr.. Scott re-
quested the editor not to print the inter-
view. which he refused to do. Mr.. Scott
In the interview said it was nearly impos-
Sibla for a woman to remain pure Who
adopts the stage. adding that the freedom
of life: speech and gesture behind the cur,
woman TO preserve that simplicity of man
ner which is her greatest charm,
What is infinitely more to be deplored.'
he added. lis that a woman who endeavors
keep her purity is almost as q necessity
foredoomed to failure in her career. 1t is
an awful thing to say, and still more ter
rible. it is true: but no one who knows
the life of the greenroom dare deny it,"
Mr.. Scott says the English stage is the
worst. because the English are the least
artistic people in the world and more
completely without the saving grace OF hui
NOR than any nation
interview. Mr.. Scott protests that it IS not
an attack on the stage, that he has not beer
accurately reported, and that it is not fail
10 quote extracts. as he was speaking fol
a religious paper and from 4 moral stand
point. u
noble lives. and the children of actors who
are forcwarned of the dangers seldom &c
astray."
In the fourth act of William Gtilette's
American play, Secret Service" which is
to be presented at Coates opera house,
NIcrday December 2.-One week-in the
same manner as It was seen during its
long run in New York. London and Ros-
ton, when Byron Douglas, as the hero; is
led away to a drumhea court-marttal.
an old negro servant removes the cart
ridges from the muSkctS of the squad OF
soldiers having the prisoner Of war In
custody. The hero IS sentenced to he
shot Immediately. but the heroine tells him
that the guns nave been unloaded. He re-
fuses, however. to take advantage Of this
when the harmless vOlley has been fired at
him. and turning around to the eXpectant
s%oldiery. he says impressively:
Sergeant. look to YOUR guns: they have
been tempered with
THIS is a fine melodramatic outburst and
always wins a round OF applause. But on
one night during the New York run at the
Garrick theater the usual form of hand
ci&rpinC was anticipated by n deep voice
from the gallery that roared out with i'm
pressive disgust in its tones:
"Oh, you BANKED fool
Even the imperturbahle actor was ratified
by this unexpected sally. hut the audience
roared with laughter as though glad of the
opportunity of relaxing the nervous strain
OF the scene.
A..::::..:::.:. ::::.saH4a.
. DRAMATIC AND MUSICAL NOTES .
I'm Old Kentucky will follow "Shanty
Town at the Grand.