Kansas City journal., 1899-03-26


The calling is brought INTO conteHpi. ana
n" j told you 81" contingent finds another
nri,",;nniiy 81 hefonlinE The nr, which il
capable of giving the highest and p'iiesi
expression tn human thought.
Occasionally. when he gets reminiscent.
Stuart Robson talks about the old Ben DE
Bar stock company days. II was on one of
great Falstaff. WIS playing
AN engagement OF the Merry
tisekett snd Wives o! Windsor upon one
Ben occasion. assisted by DE Bar
NJ R.r us the host and myself as
Slender. De Bar and Hack
rtt were oldtime friends, but
seldom agreed on stage matters IN this
occasion they Iuarreled regarding some
Shaks sIearean point. and De Bar said to
me: In the frs: scene, when you meet
Falstaff. go quietly up behind him and
fated with wind and VIII collapse. and he
who Went on the stag. as i'alstan VIII
come off as Slender. II You will do this
Tor me and no, .eil anybody will put
your salary l did it, says Robson and
-. ;., i.'.>e IN m! salary. together with i
sound thrashiIs from Hacketl To acc a
fat man grow ihin in the face of th'. audi
ence WAS the rare treat given TO the old
players of forty years ago
The fact that a ticket bought for the
ater and 10; used on the date stamped
va ~ - oiNtES Soot ioi -
not generally known. and probably theater
managers would take very little trouble
TO spread knowledge of the fact: but it is
nevertheless true. \ man who buys re-
it on the evening for which he bought il.
Good for this date only may ic stamped
Oh the pasiehoar'!. That would seem to
mean that the ticket could be used at no
other time. Probably most of the public
accept that AS proving the impossibility
Of making use of the ticket and therefore
few make amy attempt TO get the worth
of their money when they We're prevented
by any cause from using the ticket OIL the
date marked on it. But ii could be pre-
sentsd AT any time and would be good for
All admission. Any theater manager would
have TO recognize the holders right TO en-
ter the theater. although that would of
course carry with II no right TO the seat.
printed date. For all other purposes the
ticket Is quite as good as if used ON the
date IL bears.
. Papinta. the spectacular dancer, may
really be said to be the star of regular
company. Although she appears only in
vaudeville theaterS she carries seventeen
trunks and uses fourteen peO>
49,. pie i'll addition to a manager.
There is many a road company
Fspsntss which gets along with half as
Dances. many peopde and less than
half as many trunks. and
PapintaS expense account Is
enough to drive an ordinary vaudeville per:
former to distraction. To better understand
the character of her wardrobe it must be
borne in mind that she has one COSTUME
of silk which. with its draperies. weighs
more than nifty pounds:
Papinta was born in San Francisco. but
her parents moved away while she was
mere baby. Since then she has lived In
New York and Chicago. When she was
asked recently how she happened to become
a spectacular dancer she said:
Il began dancing in Chicago the year
of the worlds fair. / got dress and went
on just for fun at the Trocadero l made
hit. and since that time l have not been
able to stop. have been all over the
country. and danced in Cuba before the
war. The Cubans had never seen anything
like the dances i give. and they grew most
enthusiastic over them.
Papinta declares that she never took
dancing lesson in her life that she never
practices and that she seldom does the
same dance in the same way at any two
performances.
Il could get along better without my feet
than without my hands in these dances" y"
she said. II have often gone on the stage
with my knees bandaged for rheumatism.
and my ankles in splints for sprains. After
i broke a leg in Atlanta l was taken to the
theater In carriage. with my crutches TO
help me get to my dressing room. and l
went on the stage with my hip in plaster
bandage and stood there and did a Serpen-
tine.
II can tell you that IT takes strength to
whrl those skirts. The gown wear in the
for 1t has on it five pounds Of silver span
giles. to say nothing of the many yards Of
heavy material"
Does the American public prefer foreign
plays. do American managers find it more
profitable to give foreign plays than to
pay American royalties or are American
dramatists too slow? Without waiting for
IN answer. II is pertinent to give Il list
of the principal bills offered in New York
last week. with the origin of each. Here
1t Is:
.'Cyrano de Bergerac." at the Irving
Place. from the French
The Musketeers.' at the Broadway. from
the French.
THE Kings Musketeer." at the Knicker-
booker, from the French.
Because She Loved Him So" at the
Madison Square. from the French.
Zaza. at the Garrick. from the French.
"Frou- Frou." at the Fifth Avenue. from
Mile. Fiji" at the Casino. from the
French.
French.
London Life" at the Columbus. from
! the French
AT the White Horse Tavern" at Wal.
lacks, from the German.
The Head of the Family" at the Har
| lem opera house. from the German.
| Lord and Lady Algy.' at the Empire
The Great Ruby" at Daly's. English.
The Last Chapter" at the Garden
:The Moth and the Flame" at the Crane
| opera house, American.
Americans at Home at the Lyceum
American.
| Some American authors and manager.
| whose productions have recently appeared
In New York might protitably notice thi'
| warning from the London Era: The prac
| tice followed by some managers OF send
| ing in their friends on first nights 10 ap
pl;,nd a new piece often has positivel,
| disadvantageous effect upon the future o.
| the production. The result Of the unspon
| taneous applause which is thus supplied /:
to create reaction III the rest OF tht
audience. including the critics, who ar
! often led to be much more severe thar
| their resentment of the obviously partia
| plaudits of the managers allies.
| Here's a beautiful fairy story" by som,
resourceful press agent: "Wagnerian sing
| ers are hot easily disturbed. In recen
| performance of 'Das Rheingold' il New
| York Fraulein pevny took the par. OF Wei
4 gunde, one OF the Rhine daughters. Short
| ~ after the curtain rises young women ar,
| represented as swimming in the river be
| low the surface. The audience was start
for the bottom that certainly didn't seen
| to be in the opera. And 1t wasn't, either
| One Of the wires Of the swimming ap
| paratus had broken, precipitating Frauleil
| Pevny q distance Of nearly twenty feet
Fortunately. two stage hands succeeded ii
| or she might have been seriously. II no
| fatally, injured. All those behind tn
| scenes who witnessed the accident wer
| scared half out of their wits except Frau
lein Pevny herself. She got her cue Il
| sing Just as the wire broke and began tn
4 nh vrh Shn hA