The Saint Paul globe. (St. Paul, Minn.) 1896-1905, 1898-01-31
AT THE THEATERS.

Joseph Arthur's melodrama bearing the
blithe and cheerful designation 1.-The Cherry
Pickers" began a weeks engagement at the
Grand last night. The title gives not the
slightest indication Of the real character of
the play, which is by no means a pastoral
comedy, but military melodrama of swords
and guns-particularly one great big gun.
This gun, like the buzz saw in blue Jeans"
is the main factor in furnishing the browning
climax Of the drama. Even as the claw-Iike
teeth of the whirrng buzz saw are about
to tear their way through the middle of the
helpless hero, when the heroine snatches him
away in time, so, in ''The Cherry Pickers,"
does the brave young girl rescue her lover
from his critical position some three inches in
front of the frowning muzzle of the cannon.
which an instant later discharges a deafening.
devastating blast. The scene is a thrilling
one the success Of which depends very much
upon the nice adjustment of time between the
heroine and the aveIging villain, who swings
the gun around and touches it off when he
imagines he has drawn bead on the hero's
diaphragm. .df
1t is but just to say that this decorating
climax was greeted with storms of applause
last evening, so cleverly was it brought about.
The denouement, it must be confessed, is ac-
companied by a sense of relief, for while the
struggling to release her pinioned hero one
shudders to think what might happen should
she fail to act with sufficient promptness.
There is another effective and from a gen.
timely dramatic standpoint, more legitimate
climax at the close of the second act when
the hero, Hamlet-like, stabs through a screen
at an invisible foe and runs his sword
through the villains valet, instead of the
Wallets ''betters'
In all seriousness 1.-The Cherry Pickers
while possessing the inevitable thrills" that
all melodramas produce or aim to produce at
regular intervals, is not as coherent and well
constructed as might be wished by those who
crave this variety of theatrical diversion.
Its improbabilties, which no melodrama "can
afford to be without" are rendered more con-
spicuous by the dialogue instead of mora
plausible. Many of the speeches are absurd
and few arouse any audible response in recog-
milton of such sentiment as they may contain.
The cast is uneven. Ralph Delmore in the
role Of Col. Brough, the cruel and unscru
pulous commander of the British regiment
in India. easily distinguished himself among
the men. Mr.. Delmore is an experienced
actor, who has acquired the art of repose
and who possesses the quality of self-controI
and repression. The character of John Ma
zare. the prosecuted hero. was assumed by
@~AAASo'
and considerable intensity. His performance
would show an improvement IL Mr.. Haines
would discard certain stiff and stiIted de-
meanor and suggestion of the STACEY and
artificial in the delivery of his speeches
especially in the quieter scenes.
Miss Jessie Satteree's impersonation Of
Mrs. O'Donnell-Duleep, vociferous, but tolly.
big-hearted Irish matron, with a penchant
for liquid inspiration, was somewhat broad
and boisterous, but in the main effective and
satisfactory because of its spontaneity.
r. V. Ferguson's Characterization of Brown
the tool and valet of Col. Brough. was de-
cidedly comical and artistic In appearance
voice and action Mr.. Ferguson's Brown was
the picture Off an English lackey. Miss
Eleanor Browning, who assumed the leading
female role, that of Nourmallee, the half
caste, was inadequate to the demands of the
character. owing chiefly to the lack of voice.
Her description of her lovers heroic conduct
at the fort was her best effort Nat D.
Jones was far from impressive in the role of
Nourmallee's father. Edward Poland's inner
sonation of Ayoob, an Afghan spy, while not
ineffective. would gain in impressiveness il
Mr.. Poland would curb his inclination tn
shout all Of his speeches