Evening star., 1898-12-31
THEATRICAL GOSSIP.

| the mere mention of the name of Hermann
| recalls all that Is mystifying and awe-n-
| spring to the memory. The Hermann
| name was first brought to public attention
| by Carl Hermann. aptly called at the pres
| ent time Hermann the first, and who is
Still remembered byeour theater-goers. The
| next In line of succession was Alexander
| Hermann, called Hermann the second, or
! more commonly, Hermann the Great. The
| last in the line of succession is Leon Herr
mann. or Hermann the third, who with
| the assistance of the beautiful Adelaide
| hermann appears at the Columbia Theater
| the week of January Q. Leon Hermann,
| VINO now wieids the wand which for years
| was scepter in the hands of both Carl
| and Alexander, is as successful in his feats
| or legerdemain either of his prede-
ceSsors had been, and through him the
| tame and prestige of the Hermann name
| Will suffer no diminution. His success has
been remarkable one. From his first APP
| pearance before an American audience two
| years ago until the present time his fame
| has steadily increased The present season
| Leon Hermann will present an entirely
| new program, not one old act of any kind
| remaining in his repertoire.
| Adelaide Hermann, to whom ~tuch of
| the success OF the performances rsiven by
| both Alexander and Leon is due, will pre-
| sent again her famous dances which have
| startled both Europe and America. During
her present engagement in this city she
Will be seen in three new dances. namely,
The Black Butterfly. La Satanesque" and
| the beautiful and bewildering spectacle
and light. Adelaide Hermann will also pre-
sent an act entirely new to the contem-
| poraneous stage 1t is called Ancient and
| Modern Fashion Plates" and depicts this
| famous lady upon a darkened stage; with
| the bright light of the calcium shining upon
her. with the aid of an opera cloak only,
| winch she opens and closes with each
| change, she will make fifty changes of cos
| tune In ten minutes So quickly are the
changes of costume accomplished and so
| dlstlnct in style and elegance are they that
10 c1iI n,la
| velous.
The portions of the program relating to
| magic are Leon Hermann in his Salon
| deS Enchantment," replete with novelties
| and concluding with the national transfor-
| NATION, Americas Victory" and "A Night
| IN Japan Introducing Japanese magic by
both Leon and Adelaide Hermann.
| CLARA MORRIs-Another treat is in
| store Tor the patrons of the Academy the
| mtnaSement having secured for the week
| beginning Monday, January o. the renowned
| emotional actress, Miss Clara Morris who
| VIII present her famous creation Miss
! Mutton. Ii has been several years since
| Miss Morris has appeared in this city and
| there is no doubt a warm welcome will
await her return. The regular Academy
| prices will obtain for this engagement and
| seats will be placed on sale Thursday morn
| ing, January o.
| THE WARGRAPH.-The design of the
| great inventions of the age in the amuse-
!
| advancement The educational value of the
| moving picture is one of the great features
| OF this intensely Interesting development
| Inc Wargraph presents an animated pic
| toral record of the recent great war with
! Spain. The views have been pronounced
satisfactory in every particular.
| ANGLOAMERICAN EALS-The
| Anglo-American Ideals, company de-
| scribed as high-class dramatic and musical
| makes its debut at Masonic Temple Janu-
, airy /. The performance will consist of
| musical selections and recitals in costume
| scenes from "HamIet'' and School for
| Scandal will be given. Sir Russell Deaui,
the world-famed white Mahatmas, will con-
| tribute marvellous mind reading manifesto
| tons. The company. includes such we'll
| known stars as Irene Estella Hernandez,
| Claude Hamilton Cooper and Wanda LIE
| Strange.
| Il undertake to say said Francis VIII
| son during rehearsal recently. that the
| public is waking up. We are in an era of
| elevation. Every institution is employed in
| boosting It's particular merits, and every
man has an elevator agency of his own
| With the arrival of prosperity the stage
| elevators have set their machinery in mo-
| uon again and are booming along the
| upgrade. That is why l say hurrah for
| US! have started the fires under my own
| boilers and have got my eye on the steam
| gauge of my artistic environment. In other
words, l believe in ripper and richer art,
| II.
! MIR. Wilson uses property camel in THE
| Little Corporal 1t is life-size and life
| like, and the comedian was putting it
| through the PAGES of the third act Two
| hardy men are required to work this camel
| They were inside of the framework and
you could see nothing but their legs, which
| We're padded to conform as much as pos
| sible to the remarkable underDinnings of
| the ships of the desert. Occasionally you
| could hear a muffied warning voice or an
| impatient snort, for the two men were not
| on good terms with either themselves or
each other.
| One of the difficulties of exhibiting this
! ANIMAL" said the actor, will be in the legs
| When ] say that they must be camel's legs
| l feel that l have said much. The knees
| must look like large handsful of door
knobs, and l propose to use those MAN.
| moth warts a steDadder to get on and
| off. Up to now ] have only devised three
| really effective ways of climbing up and
! down. AS I mount and dismount eight
| times during the act, you will see that art
| in certain stages must put a sweater
| and cali for the services of a bottle holder
| 1t would never do to use the same meth
| DDS twice. In the days when mere buff
| foonery regulated comic opera l could have
| satisfied the public by simply scaling the
| right fore leg and descending by the left
hind one. One way would have sufficed.
| | have already mastered three different
| ascents and only use the fore legs. l eX-
! pe6 to work out three more ways by using
I three legs and at least an additional two
| Dy tOucnlnS all lOuT. ne OF
| standing my hands and reaching the
| back of the brute feet foremost may be
| solved by drawing down the head, locking
| my legs around the neck, giving swift
| thought to home and trusting to a mighty
| stiff spring to finish the job.
| Then there are the falls. Climbing and
| falling are different propositions. l have
| seen the day when l could fall down pair
| of stairs in a straight line on my back and
| the audience would never murmur an OBJ
| lection. That was before comic opera was
| elevated. Take those stairs, for example,
| that / used in The Mighty Monarch l
made a quick descent to the bottom, and
| did it in exactly the same manner every
! night. If / fell down stairs in these days
| 1 would have to indulge in separate and
| original fall from step to step, You have
no idea how eXacting my audiences are
| now. They will stand no trifiing. They are
| familiar with our newer and higher pur-
poses, and hold strictly to account. Our
| true worth is no longer measured by funny
| faces, eXtravagant voices and legs. These
| characteristics are useful but not abso-
| lutey essential. Why should the bound
aries of comic opera art be narrower than
| those in other spheres of acting? I'm for
| giving them more breadth and depth and