The record-union., 1899-08-27

aDneSatlOn and intense egotiSm, deadly
pride and self-sacrifice in pursuit of an
IDEAL
The Mirror: At the woman's con-
gress a notable address was made by
an actress, who declared that she knew
of no career open to women that pre-
sented so broad a field for the exercise
of cultivated power in almost every di-
rection as that of the stage. But her
statement was based on the theory
that woman should enter this field with
all the earnestness that makes for sue
cess in any other dignified calling. The
phrase cultivated power" embodies
the kernel of her meaning. Too many
women adopt the stage as a show place
Tor mere beauty and finery. Feminine
competition on the stage is sharp and
| 1ncessant, as is the competition of men,
but while woman who relies upon
beauty and fine raiment for success
may attract attention for a time it is
the woman who works and who con-
stantly enlarges her vision and in
creases her artistic values that rises
from station to station until legitimate
prom1nence-or, in the case of genius,
fame-is her reward.
| There are certain qualifications and
| characteristics that are essential to
| success on the stage, and the more es-
sent1al of these were pointed out by
the actress who addressed the woman S
congress. They are mental and physi-
cal soundness, good health, good
memory, an even temper, and, perhaps,
| above all, the capacity for the hard
/ est kind of work. The stage genius
that has enjoyed exemption from hard
work has been SO exceptional a crea-
| ture that his or her experience has
| served only to point the necessity for
persistent study and application. The
story OF stage genius has too often been
a story of early and long continued
| hardship before ecognition-sometimes
| OF labor so long necessary that health
| mas succumbed and middle age with
the DllghtS that accompany it in such
| circumstances finds the ambitious with
little faculty for enjoying the success
that is won at last. If the story of
| genius presents such facts, what hope
is there for the vain, the idle and the
| medlocre, who think the theater an
arena in which it is easy to achieve?
| A dramatization has been made of
James Lane Aliens novel, THE Choir
invisible which will be seen in New
York some time in October by arrange
ment with Messrs. Klaw and Erlanger.
| There is some talk that All. Hayman
and VIII Davis will have a new thea
ter in Chicago within another year.
Solaret closed an unusually successful
engagement at West End Park. New
Orleans. Her second Sunday there as
head liner drew 10000 people to the
park.
| April f. 1900. is the date settled upon
by H. T. Brickwell. manager of the
London Garrick Theater, and David
Belasco, for the first performance of
''Zara" in England by Mrs. Leslie Car
/ ter. So pronounced was Mrs Leslie
Carter's success in London at the Adel-
phi Theater last year in THE Heart
of Maryland that her next engage
ment in this country is already being
Photographed with considerab bic indus
try, and all sorts of fattering com
ments are appearing in regard to the
enormous success she has achieved in
! the States the past season in David
Belasco's remarkable adaptation of this
very modern play of the Partisan half
world.
! Jessie Bartlett Davis has decided to
rest for a season, so she will not be a
member of the Bostonians next sea-
son.
1t is on the tapis that James K.
Hackett and Mary Mannering will star
together after the Lyceum Theater
stock company ends it's season.
| Mortimer and Yost will in the future
be known as the Monte Brothers and
do joking and gagging act.
| A new act that has not been seen
East is Everhart. the hoop roller 1t
seems like a novelty.
Everybody knows, says the "Sketch. y
that the great operatic artists add
| largely to their income during the sea-
son by appearing at private houses and
that their fee-always a large one-is
divided equally between the singer and
the opera management. 1t will come
as surprise to many to learn that
! the practice is in vogue at the very
best London music halls, and that the
desire of society to be entertained by
the pet of the passing hour leads to
! largely increased profits for the variety
| artists and their managers. Generally
| speaking, the operatic rule of equally
| divided profits prevails, and during the
past two or three weeks several of the
| best specialists in the variety world
have cost their managers nothing. 1t
| is obvious that house will not read
lily part with it's best turns" and ac-
cordingly, very high fees are asked.
! The general rule is to ask for an hours
visit to a private house a sum repre-
senting the weekly salary of the artist
| engaged Happily for the profession,
money is absolutely no object to the big
entertainers, and on two occasions dur
| ing the month of July private people
have given variety entertainments in
| their town houses at a cost that would
pay the nights expenses of the largest
variety palaces in London This has
been a good season for the variety
theaters, owing largely to the ever
| growing habit of making the dinner
hour so late that legitimate drama is
| too far gone to be worth a visit when
| coffee and cigarettes arrive.
/