Kansas City journal. [volume] (Kansas City, Mo.) 1897-1928, 1898-01-09

| at the front door, Sotfern said: Now. we'll
have some fun; all OF you get et,r under the
the first. / feared l was late Well. as d
matter of fact. you are the last. said Soth-
| binary reason the moment you rang. they
all got under the table AS you may mag
inc. We crawled ont in a very limp fashion.
| and 1t was a long time before some OF US
forgave our host
Isabel Irving is much disturbed because
in Anthony Hopes sequel to THE Prisoner
of Zenda." Fiayia and Ra~sssndyii are plan
throat in that last scene in 'Lenda; when
| Rassendyll leaves Fiavia forever she says.
| time the final curtain fell. But just the
| same the artistic end pleased me. and / en-
jcyed the task of meeting grim rate behind
end of the novel from which the play was
adapted is robbed of its force by the prepa-
raticns Hope is making to brnng ms hero
| that l never want to hear Of klayia again.
I am sorry l ever liked her. The next
thing we may expect to hear is that Conan
| DOVE has resuscitated Sherlock Holiness
The question of personal privilege, which
| comes up in Kansas with remarkable fire.
quency. was holly discussed by the Topeka
gallery gods the other night ,o5 during !, a per
r.. bella undertook to sing "a
topeka Hot Time" The gods resent
Resents ed the infiiction In q manner
~. H.. IT. that must nave reminded Isa-
N'' '" bella that she had penetrated
to the heart of Kansas. AS
the song progressed, it was like the
bravely kept on with the piece, but when
he reached the chorus the Misses Were
showered Town from the third story with
dience knew that he was singing was the
movement Of his lips and chest. Then the
first floor. always resentful of the gallery.
took a hand in the game. and the fight waT
started to applaud. and in 4 moment an
ocean of applause was sweeping up from the
that time on to the end of the song 1t was
nip and tuck between the gallery and the
first floor as to the greatest demonstration.
Kisses and groans were hurled down from
of the house continued. Stuart continued the
song. but only occasionally was anything
heard. At last he finished and retired from
the stage.
An interesting little story. from the point
of view of the drama, is given in the new
biography of Cardinal Wiseman which
MSsSrs. Longman have just published:
When Charles kean was in course of his
shakespearean revivals at the Princess. he
was at a loss how to dress for Cardinal
he drove to York place and consulted
N1seman, who thereupon promptly sum-
moned his servant and secretary and had
himself vested in all his robes. giving for
the actors benefit a kind of mi
lecture on the name and history of each as
1t was put on. Charles Kean was very
play Wolsey. and proposed to drape a
private box in such a manner that Wise
man should be present without being Wis
ible to the audience.
No doubt many thoughtful playgoers and
readers of stage literature. including cur
rent newspaper and periodical criticism,
sometimes wonder where stage folk get
their traditions. How does
r.... the traditional business of a
Ilsolt'onaA certain part originate? The
Stage question is easily answered in
Business. most instances. The tradi-
tional business of a role is
either the ideas of the author,
the man who originally stage the PLAY. or
1t originated in the brain Of the actor who
played the part in the first instance. There
are many bits of successful business"
however, which have been landed down in
the Interpretation OF a role that have been
brought about by pure accident, yet to-day
they are traditional. Edwin Booth used to
do a bit of business" in 'Hamlet' which
was very effective, but which had It's orr
was a very short one, almost a hanger.
One night, when following the ghost With
f faH swV on S SissP Pnee sef Ts h1o his hands: in
with such force that when he arose It
remained sticking in the stage. He left it
tiSiSp oiiuSliB VldTCelluS ana HOraffO.
when he wishes them to take the oath Of
silence, over to where it was and made
them extend their hands above 1t. He aft
most effective and impressive.-Detroit
Free Press.
The exact truth about Lawrence Bar
rett's parentage and boyhood is at last
TOLD by Larry" Hutton in the current
Harper's Magazine, wherein
Lawrence ne gives an intimate view of
Barretrs 1 boo'h hon Rafrest' E Lester Wal,
Though Lawrence Barrett
thin, moro , never r. pretended to be any
real name was Larry Branigan.' annoyed
him beyond measure. His father.
b ea 0f sn 1 tGld m immi waS fat NE
scale. His mother Was a h hae S1s.a.
whom he always spoke with the sr Hai 81
affection and regard. He was q seven
months, child. with a preternaturaily large
walk until he was quite a lad. He often
toll his friends and never with the slightest
sentiment Sinad fbs s of shane ham ,o how his mother
wash ,ub to carry him to the little school
where he was taught his letters; coming
when the proper time arrived.
HIS father seems to have been unjustly
severe with the boy. and when the lad
ran away from home, concealing himself
under the seat of the buggy of a travel
ing cattle dealer, who did not discover him
until 1t was too late to send him back. He
found employment in a hotel in a Western
city. and later he became call-boy in a
Western theater. Here he made friends
with the property-man, who gave him the
ends of the candles used in the house.
which he took to his garrett and stuck into
nails driven in the, floor. because the lights
We're too short to burn long enough in the
bottles which We're his only candelabra.
By the uncertain flame of these dips"
lying on his stomach on the carpetless
planks. he studied an old copy of Web
ster's dictionary, which formed his entire
library. l have heard him tell all this to a
president of the United States in the White
House, and In the presence of foreign min
listers and secretaries of state and their
wives and daughters. as simply as If he
were boasting of the claims of long descent.
And to prove how familiar he was with his
only book. l have heard him repeat and
spell and define the many obsolete and OBJ
solescent words which the very first page
OF that dictionary contains.
Although she is the most artistic of
players and, until recently, the wife of an
artist. Annie Russell is stin inartistic In
makeup. OF the stage our
Miss Russeils ing beautiful. She possesses
Evasive fine eyes, and English skin. a
Beauty. tha rnost 80 suittis ialr ana
This writer has been PERSONAL
ly acquainted with her for fifteen years or
more, and during that heightened period
he has remained consistent in admiration
Of her good looks in society. and in recret
over their loss on the stage. By some mis-.
chance Annie Russell usually leaves the
greater part Of her comeliness in the 1ress-
ing room of the theater, and on enIarine
the mimic scene of the play she often seems
hQnplN- YET on OpND sinpS Anpga D,.z.I ~