The Anaconda standard. [volume] (Anaconda, Mont.) 1889-1970, 1898-02-06
Green Room I alLk.

n production of H. Rider Haggard's
beautiful story of She at the Union
Family theater, with a specially select
ed cast. together with a fun equipment
of special and mechanical scenic effects
in the whole range of recent fiction
there is not, perhaps, a single work
SO extrayagantly imaginative and pic
turesque in coloring as Rider Hag-
CARDS She Ii carries the reader into
a realm of most extraordinary adven-
sure and while aware of the utter inn
probability of ii all. and the fact that
nothing like il could have occurred I'M
der the sun, yet there is a glamor
thrown over it by the authors art that
keeps up a false appearance of posi-
bility.
who could have conceived the mot
pot" the sea of molten gold, the cave
mausoleum of prehistoric race of
kings and the mysterious and perenni-
ally beautiful she" but Haggard?
The story is one of those eerie.
weird things that enchain one by
lurid description and wonderful
character pictures. No wonder, then.
that Edwin Barbour grasped the great
possibilities of ii as a stage spectacle.
And judging from the praise ii has
received throughout the entire country,
the play is a grand success.
This production Will serve to intro
duce Miss Sadie Farley, we'll known as
an emotional actress, in the title role.
Another new face is Edward Nannary,
a young leading man of ability, who
will essay the role of Leo Nincey. The
arduous role of Uskane will be handled
by Miss MAY Nannary. and the balance
of the cast has been specially selected.
A large amount of special scenery has
been prepared and the mechanical eff
fects have been brought direct from
Chicago. Having a clear and unopposed
field and a merit orious presentation.
Manager Suttons theater should enjoy
a prosperous week.
Il have put forward many plays by
American dramatists. but l regret to
say that these gentlemen are not at
present by any means supplying the de-
mand," says Charles Frohman in an in
terview in the Mail AID Express. THE
fault with them is that they lack in
SEPARATION and the inventive faculty.
Their dialogue is not so pointed as is
the case with the English dramatists.
Literature and the stage, of course, are
different matters. But manager Is
justified in asking for literary method
in a play submitted for production at a.
first class theater.
BY way of illustrating what / mean,
let us take the case of Mr.. Pinero's The
Princess and the Butterfly While on
the subject of the disparity in ages of
an OlQ man anu his VILE. l<iuy INillS-
stead, a character liz the comedy, says:
Why, he'll be so before her waist Is set
tled,' Now the ordinary playwright
would have expressed il something after
this fashion: Why. he'll be 80 before
she's PSI Both of these speeches convey
the same idea. but the former, as read
lily apparent is much more poignantly
expressed.
Mind you, do not say that the sue
cess of plays depends upon bright lines.
1t is the clash of interest, the struggle
involving contending factions, that stirs
the imagination. eaptivates the fancy
and arouses the sympathy. And to ac-
complish this inspiration and the Great
i've faculty are required
The gist Of the matter is that the
language employed by the English
dramatists is, as rule. better consid-
cred than is the case with our own play
makers. Bronson Howard, in comedy,
has proved himself the equal of his En-
gish confreres. Augustus Thomas and
Sydney Rosenield are capable of writ
ing bright dialogue. Mr.. Howard. how
ever, is rich, and is not pushing himself
forward TO any extent.
THE stories of American dramatists."
continued Mr.. Frohman, are frequently
very good. But that isn't enough. They
may be well written and we'll devised,
but they do not penetrate strongly
enough into the conscience of the audi
enee TO make what is called box office
success
..Of all the American piaywrights. so
far as my opinion goes, Charles IL. Hoyt
has the happest knack of satiriZing
American character. Back of all his
writings. Furthermore. are philosophic
ideas. Hoyt builds up character better
than does any other American artist.
He has a rare talent.
In regard TO the Englishmen. j. NJ.
Barrie is a genius in the matter of nlaE-
wrighting. He originates characters,
episodes and complications that are al
most unconventional. yet his plays are
based on elementary principles of heart
interest.
You see. the Englishmen run more
10 originality than do almost all our
playwrights. Pinero writes nothing but
original plays. If he can't do that. he
will not put his pen to paper. Gonse-
Guently his comedies are caviare to the
general public. He has a fine sense of
dramatic quality. is an expert developer
of character. and his plays are instinct
with tangible ideas.
1T is certainly somewhat discouraging
to see SO many undoubtedly capable
American playwrights doing so little or
else nothing at all This country is
filed with American plays. but my re-
marks are concerned solely with those
that belong TO the highest class. 1t is
worth noting that the finest American
successes have been American pieces.
An American play that is as good as an
English play will last a great deal longer
in the United States-T am speaking Of
one that is American in character. en-
vironment and spirit. The Princess
and the Butterfly, for. instance. which
is by an Englishman, has made a sue
cess at my Lyceum theater. Ii has run
four weeks beyond the time originally
set for il. But il il had been by an
American author 1t would have run all
the season.
Sir Henry Irving. like most great
fathers. has never had any great conf
dence in the ability of his son Law
renee either a player or a play
maker. Apropos of this. a story is told
Of the first production of "Godefroi and
Yolande.' a play written by Lawrence
Irving, and first produced in Chicago.
Sir Henry did not approve of this
play, and for some time absolutely re-
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