The Seattle post-intelligencer. [volume] (Seattle, Wash. Terr. [Wash.]) 1888-1914, 1899-12-17
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in the collier Brutus Three officers and
eighty marines are to be sent to Guam in
accordance with the recommendations of
Capt. r. p. Leary, governor of the Island.
that his command should be augmented.
This detachment will leave San Francisco
for Guam on the naval transport Scindia
about June 9Th.
The long looked for and much advertised
play OF ben Hur." adapted from the we'll
known story by Lew Wallace is now pre-
scented at the Broadway theater. The cos
tunes are magnificent and the scenes of
unusual beauty. The acts follow each
other more as series OF beautiful pic
lures than as an ordinary play. When the
three wise men appear in the first act,
you find them on the desert In group with
real camels, watching tiny star in the
heavens. 1t grows brighter and brighter.
and forms beautiful design with simmer
ing rays of light. The men. in their long
robes and sandals, salaam to the earth
and a great peal of joyous music bursts
from the orchestra.
The galley scene is a striking and ter
rible one. true in every detail to history
and the cruel times they depict. The audi
ence sees this galley from the inside; rows
of slaves, old and young, white and black
(the latter impersonated by real negroes),
are seen laboring at the oars. The cap
tain sits In the center ON a raised dais.
In front of him Roman soldier stands,
beating on a box with wooden hammer
as signal to the slaves with their oars.
in the gloom and darkness. Above, on the
deck another soldier fin blaze OF glitter
ing brass shouts the orders to the man with
the wooden hammer. go slow!' alto
gether." Full speed" and the sound of
trumpets are heard in the distance.
The sgnal comes Prepare for action"
A wild cry rises from the slayes-the
guards rush upon them. claiming each man
to his seat-as they scream and beg in
terror, well knowing that IL the galley
sinks. there will be no hope for them.
Great stones crash against the outside
of the ship, making the whole structure
tremble and ehake. while the slaves are
thrown off their seats. The galley is
wrecked and all the slaves so down.
The next scene shows Ben Hur and the
captain, still In his giittering brass, tossing
at sea on small piece of wreckage under
the glare Of a red light. Generally. sea
scenes upon the stage are so unmistakably
within doors; but to the arts of appropriate
music. the sound of waves dashing on the
rocks and soft moaning of the wind, a
wonderful effect ,of being out of doors is
given
The ballet in the Vale of Daphne Is ORR
ginal and beautiful. 1t Is such scenes as
these that make one understand the fact
that a whole year was given to the prepa-
ration of this play. The dance Is led by
Cupid, tiny child, and the lovely figures
sway ana mingle In the joyous dance of
the old Roman festival. IL is here that
the camel appears again, accompanied by
the Egyptian and his daughter. This ami
mai is almost too real for the stage set
tings. His huge size half fills the place;
he looks self conscious and ashamed OF the
rocking chair upon his back. His eyes
glance about with a ludicrous expression
of disInay and his large, tremulous lip
droops in scornful smile as the talk and
laughter goes on about him.
The stene on the Nile is one of grea. and
solemn beauty. The bright moonlight
floods the stage, heavy blue mist lies
upon the water, while dark against the
background are the distant hills and palm
trees. There Is not a touch of tawdry
stageness anywhere in these scenes. but a
solemn beauty. The lovers meet and walk
by the moon; the figure of the rover, a
huge negro, with gold bands about his
arms and neck, stands like colossal
statue The scene ends as the lady steps
into the boat, the Roman leaning toward
her tenderly. the negro padding as the
boat glides off to the sound Af enhancing
music,