Omaha daily bee., 1899-11-19

1T is not TO be wondered at that there
has been a dearth Of frst-class attractions
at the theaters this season. Last week there
were four different plays and companies at
Boyd's theater. Three OF the plays were
practically new, one having never been
seen in Omaha and the other two but once
before. They were much better than the
ordinary run OF plays offered for the
amusement Of the local theater going public
and were In each case interpreted by COM
panies containing artists Of reputation with
good support.
The fourth attraction, Hoyt's "a Texas
Steer is relic OF antiquity in the dra-
matte world and has been seen in Omaha
times without number. The company pre-
senting 1t was mediocre to say the east.
IT was headed by Katie Putnam, an actress
qualified by years to be the grandmother
OF Bossy Brander the character she imper-
sonates, that OF sweet, unsophisticated
country lass OF 16, and her Interpretation OF
1t was not at all meritorions. Yet at both
performances the theater was crowded and
the engagement is said to have netted some
thing like 81 100, while Jefferson De Angels
with his new play. elaborate production and
"a tonpuuy mUTe tndU lllLy per-
sons did little better than this with three
performances and the other attractions.
"The Purple Lady" and Mistakes Will
Happen" not as much in five performances.
Therefore 1t may be expected that before
long the few large companies, made up OF
frst-class people, which do visit Omaha, will
cease to come unless given given more en-
couragement than has been accorded them
In recent years.
This gives rise to the question. What does
the play going portion Of Omaha's popula-
tion want? Do they want the cheap Hoyt
trash over and over again, year after year,
or do they aspire to the new, up date
plays that score artistic trumphs in the
east, interpreted by the same companies
that give them their original New York
productions? This is a question that would
puzzle any theatrical manager in this city.
The people are so changeable. They say,
give us such plays as The Christian or
The Little Minister with Viola Allen and
Maud Adams in the cast" and wonder why
they are not forthcoming. The answer is
easy 1t is simply because the patronage
received by these attractions when they do
come west Is not sufficient to merit bring
ing expensive productions here and they
therefore remain in the east, where there Is
rarely ever an empty seat in the theater
during the progress of performance Of any
meritorious play.
Announced for the coming week is the
appearance of Charles Coghlan, the eminent
English actor, who comes this far west only
once in five years. The play he is to present
is one that has received the unanimous
praise of the eastern press and play-goers
alike, yet there is very little enthusiasm |
over his approaching visit, the advance
sale OF seats being little larger than for the
majority OF attractions that appear at
Boyd's 1t is not unlikely that Mr.. Coghlan |
will leave Omaha this time not to return |
again unless more interest is taken in him
self and his play between now and the clos
ing night of his engagement.
While not so well known in the west, Mr..
Coghlan Is considered in the east to be
one OF the best English-speaking actors
upon the stage. Besides being an actor of
repute, he is one Of the brightest writer's
who has contributed to the contemporaneous
literature OF the stage. He has written
number OF plays, all Of which have been we'll
received and displayed literary merit and
dramatic worth. 1t is not generally known
that Mr.. Coghlan was born in Paris and
played in France before he ever appeared
on the English stage. His education was
substantially gained in the French capital,
although he spent number of years in
study at Berlin When 16 years of age he
wrote a fve-act play in blank verse; He
read this play in London when but IS years
old to a paying house. Mr.. Coghlan made
productions of 1.-THE Merchant of Venice {
and 1.-The School for Scandal in London
before Henry Irving had attained to any
prominence, either as an actor or pro-
ducer, and he employed Ellen Terry when an
unknown artist in one OF his London pro-
ductions made at the Court theater in
1872.
The manufacture of comic opera is an
unprotected American industry that has
fiourished and developed in spite of the fact
that there is no tariff on the imported ar
ticle. Ten years ago. when the first De !
Koven- Smith comic opera was produced, .
American comic opera was practically un-
known, and managers produced nothing but
German and French importatlons. Now ,
Suppe and Gene are dead Milloecker and
Delinger have not written anything sue
cessful OF late. Even Strauss fails to amuse
the public and Sullvans latest works have =
failed to hit the target of popularity. The =
American composers and librettists have the .
field to themselves and they seem to be
developing a school which suits the tastes a,
OF the public. Jefferson De Angels, the :
jolly little comic opera comedian. with the ,
motion legs. expressed himself on ;
this subject Friday night after the per-
formance. He was in his dressing room and
the legs that are wont to turn and twist
themselves into and out of so many fan {
tastic shapes before the footlights. were at p
rest. jon is passionately fond of music n
good music-Wagner above all He plays I
half dozen instruments and therefore Is a
a valuable assistant to the composer when a
libretto is being set to music for him. d
"of course" said he, speaking OF his own Il
opera, The jolly Musketeer isn't grand ! Il
opera-the public doesn't want that kind OF Il
music. but in the class of light opera r
consider II one OF the best works now before Z
the people | rank Julian Edwards, its COM o
poser. who also wrote The Wedding Day. t