The San Francisco call. [volume] (San Francisco [Calif.]) 1895-1913, 1899-01-10
SON OF HIS
FATHER AS
PUDD' NHEAD
Mayo the Second With
a Star Cold.
ADA DWYER'S FINE ROXY
BARTON HILL IN A SAWED-oFF
VARIETY FARCE.
ADA DWYER'S FINE ROXY
BARTON HILL IN A SAWED-OFI
VARIETY FARCE.
"Unc1e Toms Cabin" With Speciality
Observation-Disclosures of "The
Magistrate" at the
Alcazar.

Edwin Mayo opened weeks engage
ment at the California Theater last
night in Frank Mayo's dramatization of
"Puddn head Wilson," and the son Of
his father was handicapped by one Of
the worst cases of cold that ever ap-
peared on any stage. Even so he
proved himself to be an actor of many
valuable resources, and what he
couldn't do was largely made up for
by Miss Ada Dwyer, who gave a thrill
ling Interpretation of the slave woman
Roxey. If any one was a star last night
it was Miss DWyer, whose performance
was really remarkable, especially SO In
the fact that we San Franciscans have
twice seen Eleanor Moretti in the part,
each time admitting that her work in
it was nothing short of mastery. Miss
Dryers conception Of ROXey-and l
understand that she created the role
in the original production-is nearly one
with that of Miss Moretti's; perhaps a
trifle less tempestuous and spell-bind
ing in the melodramatic passages, but
more subtle, more racialy convincing
in the Quieter episodes of the play, and
a strong consistent character through
out. A more extensive comparison
would entail feats Of memory which
l admit myself incapable of perform
ing. l confess that Miss Moretti's deep,
gurgling voice was simply intoxicating
in this part, and that Miss Dryers,
while it is certainly adequate enough
in the ordinary circumstances of the
theater, does hardly warrant praise Of
such vivid hue. But you will remember
that this vocal speciality of Miss Mo-
rettis, so admirable in ''Pudd' nhead
wilson, chung to her afterward in
inc hut icfi IN
results. However, comparison is a hard
matter in an instance like this where
two actresses play the same part with
almost a same identity. And as for
compliments to Miss Dwyer, none could
be more grateful and sincere than Miss
Morettis imitation.
Edwin Mayo's Pudd nhead is, as a
matter of course, patterned after his
fathers and recalls that famous imper
senator in many ways; but even allow
ing for the unfortunate absence of his
voice-dOubtleSs tribute to our tardy
winter-it is only fair to say that no
serious comparison need be drawn be-
tween the two representations. Mayo
the second invests the part with the
same manner, the same appearance
and something of the same homely
magnetism; but he does not go much
beyond the external characteristics; he
gets neither real pith nor pathos out of
the contrasting moods in the big
scenes; and at times, especially in that
big scene at the close of the third act,
where Pudd' nhead is in despair about
the mixed thumb marks, he reminds
you of the obvious artificialty Of Den
man Thompson and James A. Hearne.
However, the play, which is too well
known to need discussion now, is one
that will survive an uninspired actor in
the principal part. We found that out
when Hamilton played it with the
Frawleys "Pudd'nhead Wilson" is
essentially a play of manners and at
mosphere, and demands we'll trained
ensemble, which it gets at the hands
of the present good company. Miss
Married. Seymour is a triflle stilted in
the part of Rowey, but the most of the
characters are we'll cared for, especially
that of Tom Driscoll, which is still
played with delightful boyish freedom
by Frank Campeau.
ASHTON STEVENS.