The Anaconda standard. [volume] (Anaconda, Mont.) 1889-1970, 1899-04-09

Tuesday night, THE Jewess."
Wednesday matinee, "Ingomar."
Wednesday night, Camille"
The above will be the repertoire of
plays to be presented at the Grand
during the brief engagement of Nance
O'Neil 1t will be her first appearance
in Butte since her rise to fame in the
y theatrical world, which has been so
remarkable and rapid. A few years
ago she was a young girl in San Fran
cisco making a failure of every role
she attempted. Then she came under
her present manager. Mckee Rankin:
he tried her in tragedy and her fame
was made. To-day she stands III the
front rank of the worlds tragediennes.
Her present tour will close at MilWau-
-,kee in May and she will al once go to
England, where it is believed she will
astonish the British public.
Both Miss ONeil and her company
have won nothing but praise on their
present tour. OF Miss O'Neirs support
little is known here, although Herbert
Carr, her leading man, is a strong &C
tor.
Although this country has seen
"Magda" presented by some of the
great foreign stars, it remained for
Nance O'Neil to be termed by the crit
ics "Suderman's ideal" The perform
ance of Miss O'Neil is superb and it is
said the audience is brought face to
face with the heroine of the great Ger
man writer.
1t would be extremely difficult to Sc
1ect two more divergent roles for por-
trayal than Leah in THE Jewess" and
Parthenia in "Ingomar;" one of a tenn
pestuous temperament, the other a de-
lightfully charming and sweet maiden
who wins the barbarian over from his
savage ways. Both these roles will be
presented by Nance O'Nei, and her
success in both is well known.
1t is said that Camille" as pre-
sented by Nance O'Nel is one of the
most remarkable performances ever
given in this country. The young ac-
tress interprets the role of Dumas he
roine with an intelligence that wins for
her the plaudits of the audiences wher-
ever she appears in the piece. A par
ticularly striking bit of work by this
actress is done in the gambling scene
of Camille" where she meets Armand.
1t is said that this great scene has
never been played with better effect.
Nance ONeil is an enthusiast over
her work. Recently in speaking about
her experience she said:
Those who were my friends when I
needed friendship are still my friends,
and there are plenty of them, for l do
not care for many friends. AS for So
ciety, I never cared for that. Even
when a girl I thought more of my
books and my pets than of society. I
longed to do something, and the stage
appealed to me most. | do not think
l was what they call stage struck, but
I felt that I could do those things on
the stage that I felt like doing.
My parents bitterly opposed my go
hn to
reconciled / can readily understand
why they opposed my plans. There
were so many things to be considered.
Z One of the greatest was failure.
"Oh, failure is such a crime! IF We
attain success the world applauds, but
if we fail, the penalty is great
Miss ONeil admits that her first ap-
pearance before a New York audience
tried her nerves.
II couldn't help feeling nervous" she
said, the first time l appeared in that
great city. It. was Christmas week.
1885 When once on the stage I forgot
all about nervousness, and my recep-
tion that night was so generous I shall
never forget it. New York audiences
are. lovely when they are pleased
l sometimes think the audiences of the
East are more responsive and warmer
hearted than those of the West, but I
love the West and my Western people.
J. mere llttle GSOtlSHI Ut concert III the
West. Those are things l detest |
read somewhere that all great things
are simple, the greater the simpler and
| think that is true
A theatrical contract is a formidable
looking document, yet it is frequently
found to be full of vagaries when it
comes to legal test, says the Times
Herald. When an Eastern court award
ed the fat but frisky Minnie Seligman
, $4,000 damages because Millionaire
Miner closed his Newark theater
against her. a reversal was secured
from a higher court on the ground that
, the play had been untried, leaving no
! basis for a jury to determine how much
money it would have drawn in Newark
or anywhere else-particularly New
Jersey. In the recent litigation brought
in New York by Theodore Moss against
Julia Arthurs financial manager this
point was raised in behalf of Wallack's
'theater, but the appeal court has sus-
tanned the contention advanced, that in
the matter of "A Lady of Quality
damages were not conjectural. The
play had drawn over $4,000 at that
house the preceding season and S1,400
on the night of the dismissal of the au
dience. So theatrical managers have
reason to expect that courts will now
enable them to hold companies to their
sharing contracts, which hitherto have
been honored more in the breach than
in the observance. Now the scene
shifts to Chicago, where Miss Arthur
purposes to see if a contract by the
theatrical syndicate will hold. Accord
ing to her Interpretation: The cause
which led to the present disa greements
occurred last fall when Miss Arthur
was taken seriously sick in New York
and was forced to cancel weeks time
in Brooklyn The syndicate Immediate
ly filled the time with w. H. Crane,
but demanded money from Miss Ar
thur for the cancellation. One of the
leading men of the syndicate, it is
claimed, remarked that things would be
made hot for Miss Arthur. They gave
her booking in which she was to ap-
pear in the cities of Baltimore and
Washington against Richard Mansfield.
This was afterward altered but the
next act was to impose upon the ac-