The Anaconda standard. [volume] (Anaconda, Mont.) 1889-1970, 1899-06-04

Some new female stars have APP
peared, in the Theatrical armament
during the past season who have at
tracted more or less attention. Some
of these have come to the front with
blare of trumpets and others have by
their artistic work forced recognition
from the public. Among the latter
class is Blanche Walsh, who is starring
with Melbourne Mcdowell in the Sar-
dou repertoire made famous in this
country by the late Fanny Davenport.
in which plays she will appear at the
Grand during a brief engagement be-
ginning next Thursday. Miss Walsh is
well-known on the American stage.
She has successfully appeared in many
pieces and has played a wide diversity
of characters, but up to the present
time has never occupied high stellar
position. = But the very training and
experience which she has been through
have fitted her for the work she is now
so ably performing. When it was de-
cided that through il1-health Miss
Fanny Davenport would be unable to
carry out the season. of all the leading
women on the American stage, Miss
Walsh was selected This was not so
much on account of the work she had
done as a star as for the conscientious
ness she displayed in every role she
assumed, no matter how minor. When,
therefore, she was placed at the head
of a large organization she certainly
did not relnquish her endeavors, but
rather increased them. 1t was no easy
task to follow in the footsteps of so
popular and distinguished an5actress as
the late Miss Davenport. For years she
had been regarded as the leading ac-
tress in America and her productions
stood far beyond those of any other
manager in this country. But Miss
Walsh has proved herself to be a
worthy successor. She has given evil
dence of dramatic talent beyond the
most optimistic hopes of her friends
and has fairly astonished all who have
seen her.
1t is most gratifying to note this pro-
gress, for actresses of ability are not
too common in this or any other coun-
try. But there is every reason to be-
lieve that Miss Walsh has entered the
stellar field in no uncertain manner
and that her future is assured. In such
characters as Fedora, La Tosca and
Cleopatra she has, according to all re-
ports, shown an artistic conception
that is remarkable and what is more
singular still, it is in a line of work
which she has never before attempted.
Her coming to Butte is awaited with
great interest.
THE stage manager Is brought face
to face with a company of players, and
each company is little world of hui
manity in ITSELF writes David Belasco
Every actor and actress needs a diff
ferent method of treatment if you
would secure good results. My friend,
Charles Frohman, who handles a good
int he Of
year would appreciate precisely what I
mean. This actor must be gently patted
on the back and led along the way
The next man must be 'jollied,' if may
resort to a vulgarism. Actor No. 3
needs the We're de We're stare and a
rigid iron discipline. Each man must be
treated according to his temperament.
The actress is not difficult to manage
where she understands her business.
When she has a grievance or when she
wants to explain things-and she gen
orally doeS-or when she is in difficult
ties, it is a good plan to listen to her.
Give her the sympathetic ear and let
her talk, and she will bend herself to
discipline. And the rule which applies
to actors and actresses applies to ev-
eryone else employed about the stage.
Let me here emphasize one point for the
benefit of the young actor who may
some day take charge of the stage-dra-
gooning and bullying never answer The
severe stage manager, the brutal stage
manager, is never in the end a success
full stage manager. That is the invari-
able rule within my experience
81 spoke just now of that indefinable
quality which we, for want of better
term, call personal magnetism. No man
lacking this quality can be either a
great actor or a great stage manager
Personal magnetism, the faculty OF
influence, of insensibly controlling 9th
ers, of guiding their action of bending
them to your will by occult suasion
Sir Henry Irving possesses this faculty
to an amazing degree; so, too, does Mr.
DAILY.
las to the actual average cost of a
big production, there is no recognized
standard of figures You may spend
$1,000 or $4,000 l estimate that The
White Heather cost Mr. Frohman
something like $4,000. Assuredly The
Sporting Duchess involved a much
larger expenditure. Many society plays
with their elaborate settings and fur
nishings, cost more than the average