The record-union., 1898-06-28
ADJUSTMENTS.

Manager Clifton reopened the Or
pneum last evening with THE Cotton
hlng to a fair. and we'll pleased au-
olence. The play is capitally mounted
with a wealth of scenery and a most
elaborate display of mechanical effects.
Ihere are two remarkably fine land
scape scenes, and a fine factory ex-
terror, but the chief of all the stage
effects is in the fourth act when the
interior of a cotton mill in full work
ing order is shown. There are nine
great looms in operation, and matched
splendIdly to a perspective of dozen
more giving the effect of a very long
and lofty operating room. The cotton
cloths and prints running from the
rolls aloft amidst a myriad of whirling
rollers, and returning over their course
to the floor, produce a decidedly novel
and very realistic effect. In the i'm
mediate front a great elevator shaft
as erected, through the buried sides
of which the lift platform is seen as
cending and descending. From the
crushing force of the platform as it
descends at one time the heroine is
rescued at a critical moment by the
hero, amidst the plaudits of the mill
hands and a storm Of applause from
the audience. 1t is fine scene, de-
cddedly novel and very thrilling. The
melodrama deals with the fortunes of
Jack Osborne, young American
whose success in cotton deals has woii
for him the name of the Cotton King"
He becomes proprietor of the Ashton
mills, and the accepted suitor of Hetty.
an heiress-upon condition. Richard
Stockley has an interest in the death Of
Hetty, or in marrying her, in either
case acquiring her fortune. Refused by
the girl, he plots to kiln her and ruin
her lover-Osborne, the Cotton King"
Elsie Kent, the victim of Stockley, is
befriended by Osborne, which wins him
the additional enmity of Stockley. The
other characters are dramatically and
sentimentally related to the fortunes
of these four. The play is thus a
STORY of intrigue and love, of the trials
OF virtue and the defeat of vice. 1t is
rather intricate in plot, but the inter
est is Well sustained. 1t is thoroughly
melodramatic and bristles with semi
tragic scenes and incidents Through
il all runs a light comedy vein, not
closely knit in, but serving to relax
what would otherwise be too severe
nerve tension The lead is taken by
George Z. Webster, an oldtime actor
and favorite. His reading is a bit too
intense, perhaps, but then the whole
play is intense in action and dialogue.
May Nannary has the leading Woman'S
part, the emotional role. and sustains
it with the grace and ability that long
ago won for her a warm place in the
esteem Of Sacramento theater-goels.
An artistic, thoroughly natural and
finely sustained role is that of the tool
Of the villain, taken by Richard Scott.
His Shellingiaw is at once strong and
tender 1T depicts the terrible strug-
gle between a mans evil and better
natures, with alternating triumphs
Among other Well known faces in the
company, which is we'll balanced and
strong. are Kitty Belmour, in a low
comedy role, and Agnes Rankin in
touching and we'll sustained pathetic
part Stanley Ross has the unwelcome
role of the rascal of the story, and per-
sonates Stockley well, saving that he
is too vociferouS and 6eclamatory mis-
taking voice for vigor. Yet the text
seems to demand of him loud protasta-
tions and threatenings-a mistake on
the dIamatist' part. The play is full
of the melodramatic scenes which de-
light the gallery gods. There are as
saulfs and repulses without number,
and defiance starts out on all sides, and
on the slightest provocation. There are
some touchingly tender and pathetic
passages, and some grotesquely humor-
Gus ones, i'm which Mr.. Tjader and Mrs.
Belmour are foil to one another The
piece involves a great deal of work on
the part Of stage mechanics and mana
gers. What with heavy and elaborate
settings and intricate mechanism the
men behind the scenes have their hands
full. The Cotton King is melodra-
matte success. 1t Will be repeated to-
night.