The times. [volume] (Washington [D.C.]) 1897-1901, 1898-03-27

SouSa, who has secured his position as
the greatest writer of certain kind of
music the world has ever known. Neither
does it mean to point out the futility of
writing heavy opera for the box Office.
1t simply is intended to demonstrate the
fact that John Philip Sousa is a great
composer but poor librettist: that YER
satility cannot excuse fault; that his de-
sire to combine all the elements of genius
came dangerously near falling to pieces,
and, above all, that even Sousa had best
confine himself within his own limits
limits which, though wide, are still well
defined.
Nothing is more interesting or more
likely TO prompt cyncism than an hour
spent in watching the audience assem-
bled to see a magician. People are al
ways interesting and in these cases much
more so than the performance, what
ever it's degree of excellence. All sorts
of types and all classes are on exhibit
ton. but the prevailing emotions are
conceit and its cousin. desire for con-
spicuousuess. This is noticeable long be-
fore the curtain has risen, from the case
Of the dapper youth who is telling every
one near him how such and such things
are done, to the old gentleman. who is
content to look as though he knew all
about it. After the entertainment has
these two Both sit in an attitude of
critical thought, each waiting to be call
ed upon by the tTiCkeSt and each fearing
that someone else may fathom his de-
sire. Finally the wished-for moment ar
rives. An attendant is sent around with
a chain or few iron rings to be exam
ined. Neither of the two people COM
mented upon knows a piece of pig iron
from a drove Of hogs and casual glance
m a
right so far as he could see But this
would not be sufficiently impressive. The
1 young man takes the chain. holds it to
/ the light squints at it and finally hands
/ it to the attendant with an air which
I plainly says AZ have loked it over. Ey-
/ erything is firm. If you fool me now it's
/ not my fault" And his sweetheart is so
/ wrapped in admiration that she forgets
to hint at chocolate creams after the
/ theater.
Meanwhile the aged gentlman is taking
( a survey of the chain with the deliberate
care of a bridge builder. He tries its
strength, runs his thumb nail around
/ each of the links and returns it only af-
ter the most severe inspection. When
the magician hooks the rings to each 9TH
er or breaks the chain with his fingers
there comes a moment of real delight to
the audience. Every second person in the
( house turns to his neighbor and gives
his individual idea of the only possible
way in which such an illusion could be
accomplished Almost invariably the So
buttons are the sheerest nonsense. but
they have one good result-they keep the
neighbor from giving his version.
Another great chance for the youth
. comes when the artist walks to where he
! sits and takes money from his hair. cards
from his nose or rabbits from his ear.
This gives excellent opportunity for witty
remarks. The proper thing to say in the
first instance seems to be, Il wish I'd
known that was there" while well. III
be hanged" fits into either of the other
! instances a companion who fails 10
laugh at either OF these jests has to buy
his own seats next time ne goes to the
thcater.
But let the performer ask for a number
or for an opinion and the silence is OPP
presSive 1t is not considered etiquette not
TO show ones self duly baShful when
needed, and in consequence. no end oil
trouble is made for the entertainer II
is in the universal distrust of him that
cOnfederates, nov almost obsolete, are
made possible. a careful man can wai
five minutes before Offering the hat in,
trusted to his care, without the slghtes1
fear of losing his position by someone els,
getting ahead of him. Sleeves and con
federates have become too well known
however. to be much used, ard are. a
present. necessities only in the minds o.
audiences. A dozen other staid idea:
remain in force, and with hundred fol
bles other than those mentioned make
crowd assembled at an entertainment il
| magic even more interesting than the pro
gram. The proper study of mankind il
: man"
9 The indictment of Harrison Grey Fiske
/ editor of the Dramatic Mirror, on
Z 81 1.,-F
a New York. is one of the least understand
? able things in the general tangle of iu
t dcial affairs in the Empire State Fror
4 a ghly-unprejudiced point Of view
! without inquiry as to the right or wrOn
= of the suit. it looks as though only gros
= ignorance on the point of the authorize
I could have caused such a proceeding
a From the reports of the testimony. ther
q seems little doubt that Mr.. Fiske practl
cally substantated his charges, whiC
a were, at the worst of a nature TO b
a more of the 'if-the-Coat-fits-y OTde
$ than anything else. The evident desir
$ for secrecy on the part of the prosecutio
= and one or two other details in the mat
@ ter would seem to tend toward total
: generating the proprietor of the Mirro1
4 who has waged from start to finish a
c upright, honorable manly and unseltis
d fight for the independence of the theat
n rical profession and who, therefore de
! serves at least the respect of his enemie
T. and justice in the courts.
#
g Probably the neatest compliment thi
5. has been paid the stage in years Va
e couched in Congressman Berry's bill il
PRODUCED last week. for appropria tin
e So COO to go toward preserving the bett,
e methods of dramatic art. Not only W.
d it refreshing to learn that so capable
5 man as Mr.. Berry thoroughly apprec
J. ates the educational advantages OF II
e theater but the size of the sum name
t. shows that he cannot consider the dr,
l. ma much in need of reform. The vagu
n ness of the bill, however and the lac
It Of suggestion as to how this good shou
d be accomplished make 1t possible tn,
d the gentleman from Kentucky has