The Indianapolis journal. [volume] (Indianapolis [Ind.]) 1867-1904, 1899-02-04

r dlSldu.
The feminine share Of Mrs. Leslie Carter's
audience are duly impressed by the magnif-
cent force of will she displays in keeping
her hair carefully coffured through the en-
tire role of Zaza. No play ever offered
better opportunities for an artist to fling
the red glory of her locks to the stage
breeze; not only opportunity. but invitation
and allurement are extended, but the strong
minded heroine refuses to be beguiled into
the hackneyed situation. The unrestraint Of
sweeping ringlets would be in keeping
with her sartOrial disclosures that one waits
breathlesSly for the moment when she shall
release the last lingering hairpin and the
famous hair-one of the stepping stones on
whose ashes Mrs. Carter has risen 10 the
height of present success-shall be entirely
free. No such expected event takes place.
In the forgetfulness Of emotion she may re-
lease herself from the restraint Of clothes,
usually considered obligatory, but no such
forgetfulness is shown in regard to her
GROWING glory.-The Criterion.
At the Metropolitan opera House asst week
there was a sudden development of a fad
that is come to stay-the mixture of supper
and grand opera, Wagner and cheese sand
wiches. Die Gotterdammerung" and cold
turkey. Mrs w. Bayard Cutting was the
fashionable woman who dared to make the
innovation openly. Heretofore during the
been a quiet nibbling of bon bons in boxes
or dignified but hungry rush outside,
where soda, CONNECTIONS or light sandwiches
may be had. Every body felt hungry, but all
feared to break the ice. Mrs. Cutting be-
held with dismay the ''ad' that said Die
Gotterdammerung was to begin at GAO last
nlshl ana last untll II was over otdLEa.lo,l
stared her in the face unless something was
done. She did it. She sent a hamper
packed with good things to the directors
room, and during intermission entertained a
substantial lunch. This emboldened Maillard,
who has been serving CONNECTIONS for two
seasons there. Last night for the first time
he served coffee and sandwiches to hundreds
of the hungry in the lobby.
Miss Laura Burt, who as Fanchette. in
"A Dangerous Maid" figures prominently in
the duel scene with Madge Leasing. is cred
tied with having made the hit of her career
as June in the English production of Blue
Jeans" in which she starred last season in
London. 1t was while there that she dis
tinguished herself as only smart and witty
Yankee girl could by attracting the atten-
ton of the press. One of her novel expe-
dents was to compile a circular containing
English press opinions, prefacing the same
with the following words:
IF you please, this is what the critics
say about me. 1t would be more graceful
to let somebody else call your attention to
Thackerays Becky who had no mamma.
was forced to do her own fishing for a hus-
band, and l. who have no syndicate behind
me, must blow my small trumpet for my
self. 1t isn't loud blast-I haven't done
anything wonderful; but / had a charming
part to play in Blue Jeans and it makes
me very happy to have people say / played
1t rather nicely. / have not been retained
at an unprecedented salary to create all the
new parts imagined by all the new play
wrights; in fact, / am looking for an en-
gagement. That is why / cut all these no
tees out of the papers and printed them.
Perhaps it isn't good business to say so,
but it's exquisitely truei And if any man
ager wants me, ] am ready to open all the
letters that come to the hotel Cecil in Lon
dom"
Interest in the career of Mrs. Fiske as an
independent star has increased since the
turn of events that has left her absolutely
alone in opposition to the so-called theater
trust Less than a year ago several prom
inent stars were informally aligned in oppo-
sition to the combination, while several
other stars who had not attempted to do
business independently were outspoken in
their belief that the trust was inimical to
dramatic art and artists. One by one these
artists for various reasons ceased from an
tagonism until it happens that Mrs. Fiske
alone Is left. 1t is not strange that her con-
eiStent ODOSitiOn should become more deter
mined in the event, and a statement made
by her last week illustrates her feeling and
stage" said Mrs Fiske, Il shall have no
association with the theatrical trust. The
most eminent actors of America have pub
!tcly denounced 1t as an institution degrad-
iEg to dramatic art, inimical to the best in
terestS of the theater. The only practical
protest the actor can make against this or
ganization is in a firm, consistent, unswerv-
ing refusal to play in theaters controlled by
the trust No special bravery is required to
perSeVere in this cause. Speaking from my
own experience, we have been forced upon
occasions to play upon the stages of second
class theaters, but our audiences at such
theaters have been as large and brilliant and
as refined as one could desire The people
have upheld us in our cause and followed
Us. 1 am told that the trust makes siren
uouS efforts TO inJure me. The trust cannot
injure me- Il cannot disturb my health,
my conscience, nor my peace of mind. 1t
may be that the trust will eventually gain
control of all the theaters in this country,
and that as a consequence l shall be pre-
vented from acting in this country. | cam
not see how this alternative will injure me.
1t would mean only that | should go and
act in some other country"
Charles Hoyt. the playwright, is enjoy
ing certain little joke that unwittingly fell
to the lot of some of his constituents of
Charlestown, N. H., and Bert Dasher his
representative, now here in advance of Otis
Harlan in "A Day and Night" Charles
town, be it known, is Mr. Hoyts home. 1t is
a tiny New England village chock full of
types which Mrs. Parker has used for her
characters in Way Down East" and which
Mr.. Hoyt also used in "A Temperance
Town" Business quite frequently calls Mr.
Hoyt to Boston and on numerous occasions
he invites four or five of the villagers of
CharlestOwn to come to the Hub as his
guests for couple of days Last October
Mr. DaSher happened to be in CharestOwn
on private business for Mr. Hoyt and he
received a wire to bring down four or five
of his (Hoyts) rustic friends to give them
a pleasant time 1t happened that way
Down East was playing at the fremont
street Theater at the time and Mr.. Hoyt
suggested to Dasher to chaperon the rus
tics around and arrange for them to see
the performance, as the scenes and char
acters would be familiar to them. Now, it
so happened that one of the characters in
Way Down East is High Hollow, a chore
boy around the farm. The role is happily
assumed by Felix Haney. AS the play
progressed the rustic party from Charles
town began good-natureily TO chaff Bill
Perkins of their number, for his re-
semblance to High Hollow. Dasher made d
quiet sneak" to wait in the back of the
theater for them, as the loud talking had
attracted the attention of a portion of the
audience. When the matinee was over he
couldn't find them anywhere, so he decided
10 go back on the stage to see Mr.. Brady,
and there al the stage door he found the
bunch of rustics waiting for High Hollow
TO come out they could introduce Bill
Perkins to him. While Dasher was debat-
ing with them Mr. Hoyt and Mr.. Brady
happened along and Mr.. Hoyt, looking his
flock over, inquired what they were doing
at the, stage door. Waitin for High Hol-
Ter they answered in chorus. Want him
and Bill Perkins to meet"
Hoyt.
We'll. High Holler didn't" said one 1--WE