Evening star. [volume] (Washington, D.C.) 1854-1972, 1899-02-21
AMUsEMENTs.

fOur curtain Calls aIler the second tCl OIL
''The Kings Musketeer'' at the Lafayette
Square Theater last night showed how
successful Sothern is in his newest play.
The house had been sold OUT early in
the evening, and representatives of Wash
ington's most distinguished circles filled
orchestra, mezzanines and boxes. This
gathering of fashionables alone was a
tribute not often vouchsafed to productions
here. The occasion was the first presenta-
ton In this city of Henry Hamilton's orig
inal and recent adaptation of Dumas IA
nous story, THE Three Guardsmen," and
in many particulars it is very different
from the book and from the Mayo version,
with which experienced theatergoers are
familiar. 1t shows the chivalrous D'Artag-
nan at that period which Dumas describes
in these lines: lima CINE to yourself Don
Quixote at eighteen, too big for a youth,
too small for grown man; an inexperi-
enced eye might have taken him for a
farmers son upon journey had it not
been for the long sword, which, dangling
from leather baldrick hit against the
calves OF its owner as he walked"
ms version has but lately been given in
england, where 1t proved the most sue
cessful of the many that have assaied the
sympathies and emotions of John Bull In
many respects it Is superior to the ancient
American version, because it has fewer
front scenes and Is a more compact con-
Struction. 1t has preserved all the romantic
flavor and cavalier dash of the book and
the various scenes are full of color and
force The Sothern performance is a de-
1ghtful one in that it moves forward with
admirable directness and precision There
are no laggard moments and the thrilling
episodes pass with panoramic swiftness
ID Artagnan has been given a very pretty
love story, that contrasts most charmingly
with the broadly melodramattc action of
the rest of the play. Sothern very properly
Ialls TO realize the hero of Dumas descrip-
tioh' because staggering lout would not
engage the fancies of the feminine world
TO which Sothern and all Society actors
effectively appeal. STILL in idealizing the
part, he has not transformed it out of all
likeness to the hero of the book-that is
to say, the youth conjured up in the minds
of the reader. With all due respect how
ever, to the genius of Dumas, it is believed
that no admrer of that wonderfully dra-
matte romance cherishes a conception of
the hero that anywhere near tallies with
the original sketching The advantages
that come from intelligent modern stage
management and from gorgeous scenic in
vestlture have added nightly to the pres
ent production. 1t develops scene after
scene which are splendid pictures from
the scene painters brush, heightened by
furnishings that are appropriate and hand
some.
Sothern is, in the MAN. as he always is
eminently satisfa Glory. His action seems
spontaneous and his elocution for the most
part satisfies the critical and entirely salts
hes his audience He has not the stature
that popular fancy gives the hero but evil
IDENTIFY he fills the eye of the fair observer
In the love scenes he is admirable. and in
the stronger passages he is conscientious
and quietly forceful. 1t is a difficult part to
play, and he does 1t intelligently and faith
fully.
Morton Selten gives a powerful concep-
ton OF the king. No detail of the charac-
terization is lacking, and his hysterical
laughter at the close of the second act was
an effort little short of genius. A R. Law
renee is good cardinal, and at all times
gave strongly c0ntrasted support. Marshall
Stedman as Buckingham was artistic.
=. r. tlocktor was admirable as de
Rochefort. Athos, Porthos and Aramis
were played by Roydon Erlynne, Norman
Conniers and Geo. E. Bryant, respectively
and they We're effective. Other well-known
actors in small parts are Ernest Tarleton,
Norman Parr and Owen Fawcett Miss
Florence was spirited, charming Ga
Drlelle, the center of DArtagnans affec-
tons. Rebecca Warren was dramatic
Anne of Austria. Edith Crane as Miladi
was magnificent in her physical realization
of the role and most convincing in her por-
trayal of the adventures emotions. Kate
Pattison-Selten was an agreeable Mother
Superior, and Tonette was a bit well ham
died by Edna Phillips
COLUMBIA THEATER.-"The Geisha,"
which seems never to grow old, is again a
visitor in Washington, and the popularity
of the little music comedy was attested last
night at the Columbia by a standing-room
house. No prettler, brighter music has
been put in production of this kind in late
years. The Geisha' abounds in catchy
bits of song and chorus work and there is
never a let-down from the opening chorus
TO finale in the high standard of compost
ton. The opening chorus, by the way, is a
feature being rapidly eliminated from the
light operas of the period 1t might well
remain, for the audience upon hearing it is
a once made familiar with the author and
has line on the character of music which
is to follow. Interesting and clever as
ever. therefore, The Geisha' will prove a
big drawing card during its run which ends
with tomorrow nights performance. This
breezy musical piece is like an oasis in the
desert and offers a relief to the drama
weary playgoers of the capital city.
Washington has seen all of the notable
Geisha companies sent out The present
organization came with modest advance
notices, and no great stress was laid upon
the individual work of its cast. 1t was
stated as being Daily production, however
and this was sufficient guarantee of merit
sufficient to attract to the Columbia a
handsome audience. Last nights perform
ance decidedly pleasing, and the pco-
pie in the front of the house were not slow
in showing their appreciation of the deserv-
ing efforts of those behind the light Dor
ders. The applause extended from gallery
to the orcheStra's first row, was generously
bestowed by all upon subjects that could
not have been more fit. In the role of o.
Mimosa San, the "belladonna" geisha girl,
as the Chinese tea-house man chose to call
her, which has been sung here at different
times by such artists as Dorothy Morton,
Nancy Mcintosh and Mabelle Gilman the
latest graduate of Mr.. Days excellent
training school, was Miss Maud Bliss, a
tmid, pretty little girl who sang it for the
first time. Miss Bliss, as the evening wore
on, gradually regained her self-confidence,
singing with a spirit and vivacity during
the second act which was lacking in the
first. She was cast in the part on short
notice. and went through it remarkably
well.
The interest in the piece, however, CEN
tered in the work of Miss Minnie Ashley,
who has been sought by the artists of the
camera and photographed more than any
little girl on the stage of today. She was
the Molie Seamore of The Geisha.' re-
placing Violet Lloyd and Virginia Earle,
whose regulations wider than Miss
Ashley's. account Of their vast stage
experience From her entry this rolicking,
jolly and doll-like little girl infused new
life into the play. She was something new
to the audience and her reception was not
marked by any great outbursts of enthu-
siasm. BY her pretty work, graceful dane
ing and the brightness which marked every
bit of her work she soon won over the cold
first-nighters, however, and finally, when
singing the song of the meddlesome parrot
in the last act, was accorded all the warm
app ause that was withheld during the
earlier scenes. She sang and danced en-