The record-union., 1897-05-02

oldstein''-when first announced for
production it was named 'Hetty, Sam
and Others"-but this title has been
changed to ''The Widow Goldstein.'
An Eastern writer says: f'The jaded
sheater- goer longs for novelty-he feels
the need of a thrill-and when the en-
terprising manager furnishes one he
reaps the money reward. OF recent
years authors and managers have left
mo field untitled in their search for nov
elites. All the physical dangers and
mechanical contrivances have had their
day; their novelty is worn off; they fail
to thrill and as a. result are dead. Ply
steal phenomena is abandoned, the
problem play has been voted a bore,
and metaphysical and psychological ex-
periments will be called into service.
IAN Innocent Sinner a character COM
edy play of Southern life, is the newest
and latest to furnish a sensation in the
shape of genuine hypnotism. The lead
ang lady must be a hypnotic subject,
and the leading character actor must
have hypnotic powers, the big scene of
the third act must be enacted by the
heroine while in a state of real, not sim
little understood hypnotism will be ex-
plotted for the first time as a realistic
dramatic adjunct or sensation. Lead
ing men and leading ladies have new
field to enter into, and schools of hyp-
notism will doubtless have many new
recruits" All of which excites our
mirth, nothing more.
7 7 e
of the new play in which Miss Lillian
Lewis will appear next season. This
actress, in her new production, will be
under the direction of Joel Marks & Co.
-
Theatrical agencies have queer expert
ence with people who are anxious to go
on the stage; but a majority Of those
who know enough about the business to
make applications through a regular
agency will give some reasonable ex-
cuse for it. The most igonrant ones
generally write personal letters to some
prominent player or manager, believing
that they will thereby receive prompt
and personal attention. They naturally
assume that an actor has nothing what
ever to do during the day time, and that
he is always on the lookout for new and
undevelOped talent. All of the noted
stars have received letters similar TO the
following, which was sent to Beerbohm
Tree recently, and is rather unique in It's
ideas of the essential qualifications for
success on the stage. Here is the let
ter. which commences with an ambigu-
Gus compliment to the celebrated actor:
s.Veneered Sir: I wish to go on the
stage and would like to join your Valua-
bic theater. 1 have been bricklayer
for five years, but having failed in this
branch / have decided to take on acting,
1t being easier work. l am not young,
but am six feet tall without any boots.
4 have studied Bells system of elocu-
ton and am fond Of late hours.-E. s
Il have received dozens of letters
quite as extra ordinary as this one,' de-
4lared Mr.. Tree, and no doubt there are
dozens of actors who have had similar
applications It will be observed that
this ambitious bricklayer pays the We
neered and highly polished actor the
compliment Of calling his theater a val
7lable one and candidly confesses that he
has decided to take on acting because
it is easier work than laying brick. he
IS honest. at least, in confessing that he
is not young, and that he is without
boots: but, Of course, that doesn mat
ter. as he is six feet tall and has studied
Bells system of elocutiOn. He reserves
the fact that he is fond of late hours
for the last and most decisive blow IN
his own favor, and has evidently had
enough passing experience with actors
to believe that it is a necessary quallf-
cation.
Felix Motif is. among other things,
an original programme-maker, almost
Yivaling Bulow in that respect For
Dne of his London spring concerts he
has made UP a programme consisting
of ten overtures, and intended to Illus
trate the development OF that form.
Reetboven's Choral symphony" with
the Yorkshire chorus of 200 voices from
Leeds. Berlioz's Harold in Italy" and
the whole Of the second and third acts
of 'Parsifal" with the veteran Herr
Vogl as the hero, and choir from the
Roval College Of Music, are among the
good things promised.
To be led to his desk by the police
and ordered to preside over an opera
IS an experience that does not often
1appen to a conductor. 1t did happen
the other day to the energetic Signor
Tango (yvhose conducting was admired
IN New York last year when he was
with Mapleson's company. 1t was at
the italian town Of Pesaro, the site of
the Rossini Conservatory, of which the
.dolized Nfascagni. in the brief heyday
of his success, was appointed con-
ructor. There is an opera-h house, Of
course. and Mascagni, being one of the
local big guns" has a good deal to say
about its management He succeeded
in having one of his most vapid OPP
eras. "Ratcliff" (Which has been fail
are everywhere, placed on the limited
,epertory. to the great disgust of the
subscribers who were compelled to hear
1t over and over again. The public
found a remedy by staying away, and
I'm consequence the manager got into
trouble and was unable to pay his art
lists. Signor Tango. on the evening in
question, went on strike, refusing to be-
gin the opera till he had his back sal
AIRY. The audience waited, and grad
ually became tumultuous. Mascagni
tried TO make a speech from his box
but was Kissed down. The rest of the
story is told in the language Of the
Milan correspondent of the Frank
furter Zeitung':
AT this moment two policemen led
Signor Tango to his place and tried to
compel him to conduct. The public
hurled abusive epithets at him, while
Mascagni and a minority took his part
Before long words led TO actions. Mas
caghi was pale with rage, and heaped
.busac on tha audience The end ri