The Indianapolis journal. [volume] (Indianapolis [Ind.]) 1867-1904, 1898-01-01
ADJUSTMENTS.
EngIish's-eewhat Happened to ]

EngIish's-sEWhat Happened to Jones'"
There seems to be some occult potency in
the name of Jones. 1t may be found on the
slate at "Old Hens" underlined in red
on the dead-beat register of a hotel Can ho-
tel, If you prefer it,, or it may solemnly
stare one in the face from a moss-grown
gravestone; still, it is never anything but
Jones' and the beholder cannot help smil-
ing. 1t may be on account of its poetical,
monosyllabic rumble, as in the famous poem.
of Jones, Jones, rattle his bones, over the
stones" that the name has caught the pop
ular fancy, or it may be merely the unex-
plainable desire of Americans to make fun
that has given the name of Jones it's won-s
derful charm. At any rate, the charm is
there. and when it was announced that a
farce had been written Oh What Happened
to Jones'" the American public was ready
to laugh. If the play We're about Jones that
was enough New York thought so for
three months, and the large audience at
English's last night evidently held the same
opinion. Jones is on tour of the CONT
nent and a Shrek of laughter will follow
him. George H. Broadhurst was the man,
and an Englishman at that, who saw the
opportunity to take the favorte character
of the American newspaper funny men
and place him on the stage. He has OBJ
the discerning eye. of Max O Rel, and has
constructed a farce that is the cleverest bit
of pure farce writing seen IN recent years
1t is farce without music, and as free OF
nastineSs as a parlor game for children.
The only musical thing in sight is a piano,
and that is made TO provoke laughter by
being stuffed with clothing. The farce is
better even than the actors. The story
concerns certain events that take place
during only one evening at Professor
Ebenezer Goodleys New York residence.
the happenings of that one evening are so
fun of entertainment that the audience
grows impatient every time the curtain
falls The play might just as well be in
one continuous act. There is no change of
scenery. and the grotesque Swedish servant.
nap on the sofa between the acts, with the
orchestra playing an intermezzo, and the
audience would never guess that the time
PERMISSION. Jones arrives without any
murder music early in the first
act he is being chased from a
prize fight. and invades the residence OF the
GoCdleys 10 escape the police. In the early
scenes George Boniface did not make
employed clsSy accent ana prom
ised TO be almost disappoint-
ment but Jones soon became too busy
deceiving number of people to fall often
into artidciality. AS the play advanced
Jones grew. A houseful of pretty girls
hanging around his neck under the impress
sion that ne was their dear Relative the
Bishop of Balarat, from Australia. led him
INTO score of merry situations that were
N'F-9GA by tie auLuoF IN Il mastery man
ner Papa Goodley under the strain, be-
came a M subject for the sanatorium and
the young s1n-iE-law =. drV-
en- almost 70 the verge of murder at the
sight 81 things. Al one crucial moment
IA the last act Boniface threatens to show
hlsA-gIdoe eomedy talent, in a touching bit
OF serlous acting. when he is able to re-
unite me engaged couple after a quarrel.
ar. obcr as Professor Cooley.
mouths his important part and
tries 10 be funny when he should
be dignifed and serious throughout
anna Belmont. as the girl from Vassar.
needs 70 coaching. The goodfellowship
Whlcn Immediately arises between her and
Jones ~ one Of the pretty sentiments run
nlng through tie production Kathryn Os-
ternan ls beautiful Marjorie as all
women o. that name should be, and Matte
ferguson, Who IL one time called Indianap-
0Ils HeF nome made an artistic and re-
Iresnin$ character study out of the Swedish
maid. Her lines are hardly more than a
dozen dVrnE al the three acts, but the
swedish naid is one Of the characters to
be remen bered. Reuben Fax plays the real
bishop ia fire discretion. and William