The Indianapolis journal. [volume] (Indianapolis [Ind.]) 1867-1904, 1898-11-06
PLAY BILLS THIS WEEK
.eTELEPHoNE GIRL AND WALKER
WHITEsIDE AT ENGLIsH's.
The Grand stock Company TO Give
'sThe Social Hishwnyman"-DoubIe
Bills at Park and Empire.

mere VIII pe Two popular at
English's this week. For the opening night
another spectacular New York Casino pro-
duction will make its first appearance here.
1.-THE Telephone Girl is said to be more
extravagantly staged than its companion
piece, THE Belle Of New York. which was
the hit Of years al that theater last season.
After two nights with the Casino enter
tainers, Walker whiteside comes for two
days, giving a Thursday matinee and pre-
senting both OF his new plays, THE Red
Cockade'' and Eugene Aram."
The popularity of the New York Casino
attractions adds 10 the interest taken in
'"The Telephone Girl" which is one of the
latest and most pretentious Of the Leaderer
productions. 1t also affords the first op-
portunity to see the stars, Louis Mann and
Clara Lipman. in this city. During recent
years these two entertainers have taken
rank among the most popular in New York.
Louis Mann's eccentric German character
has been the farcical hit OF the decade. He
first attracted particular attention with his
clever impersonation Of the love-sick Ger
man music teacher in that laughable farce,
The Adventures of Miss Brown" From
this he went to the American production
Of 1.-THE Girl from Paris" where he played
Hans, the comical inn keeper, whose queer
ly inverted language was the distinct hit
of that production. The Louis Mann Ger
man was a new stage type, and hardly
any farce has been written in the last three
years that has not had a copy of his inn
personation. ]. ]. Sullivan, Eddie Toys
former understudy, who was seen here in
Mann's role in 1.-THE Girl from Paris" was
taken to London by the Casino company
to play the crazy German who was always
pursuing Dan DAILY with a three-foot knife
in 1.-THE Belle of New York." and once in
London Sullivan made such hit that he
was called the greatest character actor
ever sent from America, his work being
compared with John Hare and other great
English artists, yet Sullivan was giving
only an imitation of the original created
by Louis Mann. In 1.-THE Telephone Girl"
Mr.. Mann gives another edition of his Ger
man type. The opening scene of 1.-THE Tele-
phone Girl shows the interior of that mys-
terious institution known as Central
headquarters of the telephone service.
Louis Mann appears as an inspector of the
company's wires. He has more or less
charge of the girls, and runs race of con-
fusion and fun. There is a thread of senti-
ment in the tale. Miss Lipman, the lead
ing hello" girl, is hopelessly in love with
a handsome and youthful broker, and
n6dIS over the puOUt an VI
a vaudeville performer to meet her sweet
heart. BY frustrating that meeting and ex-
changing places with the actress at the
latters home, in order to help her out of
a sudden perplexity, she stirs up a delight
full train of complications In the action
also is an octogenarian firt in constant
pursuit of the hello" girl. Moreover, there
is a susceptible youngster acting as Office
boy. who is passionately adored by the
lunch maid of the telephone exchange, but
the boy loves the French girl, notwithstand-
ing that she is twice his age. All this
varies the comedy.
In these fife-and-drum times of war the
ingenuity of the theatrical managers has
been taxed to invent appropriate spectacles.
Perhaps the most picturesque achievement
of the kind is said to be the finale to ''The
Telephone Girl" At the conclusion of the
piece proper a unique curtain, made Of a
huge American flag, descends. AS it falls
It embraces the pretty chorus girls in it's
folds and makes a background of another
patriotic scene. directly in front of the
footlights. THE Telephone Girl chorus is
made up entirely of women, a chorus of
forty being promised, in addition to the
dozen or more leading people who assist
Louis Mann and Clara Lipman in the prin-
eipal roles. $50
Another interesting engagement is that CT
the scholarly artist, Walker Whiteside, who
comes to English's Wednesday night in his
new play, 1.-THE Red Cockade." Whiteside's
representations all partake largely of the
romantic, and he is said to have found a
French play suited to his magnetic person
atty and his style "The Red Cockade''
will be the offering Wednesday and Thurs
day nights 1t is from the French of M.
Poinsard, being the English version of the
famous Lion Amoureaux," a powerful ro-
mantle comedy drama of the Napoleonlc
era 1t is described as OVERLOOKING with
stirring events of the French revolution,
that period when France was lost to roy
atty, and was, for the time being, in the
hands Of the republicans. Mr.. Whteside
has eostumed his new play in a beautiful
manner and his efforts WILL no doubt, fur
nish the usual excellent entertainment.
Mr.. Whiteside will give matinee per-
!. Torrance on Thursday, when he will pre-
ASent Eugene Aram," dramatization of
Bulwer-L ytton's novel of that name 1t is
strange that so romantic story has not
strength of the plot seems to have been
overlooked by dramatic writer's until re-
Gently. when Paul Kester and Mr.. White
SIDE took 1t up, and their beautiful drama
Is the result Their version is said to be
like the novel of Dytton and the poem of
Thomas Hood, a true classic. Few plays
have SO absorbing a plot. The pathetic
story OF Eugene Aram, the English scholar,
who was executed in the year 1853 for a
murder committed fourteen Years previ-
ously, is familiar to all readers of the Eng
lish language. 1t is told in choicest prose
by Sir Edward Bulwer-Lytton in his novel,
and inspired the muse of Thomas Hood in
one of his best known poems. Both of these
accounts of the unfortunate man will sur
viwe as classics as long as there shall be
English literature.
Mr.. Whiteside plays the principal char
acter. Few men active the distinction of
assisting in writing q first-class drama and
then playing the principal role in a thor
oughly artistic manner. Mr.. Whitesides
rendition OF Eugene Aram has been spoken
OF in the highest praise. In the third act
he meditates the killing of Richard House.
man, who is asleep on a sofa. while a vio-
lent storm RACES outside. Just as he is in
the act Of committing the murder he is de-
tered from his purpose by the chirping of
q bird, which is blown in at the window.
and which he secures. The transition from
almost contaminated murder to tenderest