The Anaconda standard. [volume] (Anaconda, Mont.) 1889-1970, 1899-05-21

THE Turtle that brisk and enter
tanning French farce, which recently
celebrated its two hundredtn consecu-
tive performance at the Manhattan
theater in New York, will be at the
Grand, in Butte, tonight. No play
produced in recent years provoked
such a cyclone of critical discussion,
and it is to-day one of the most Widely
talked about performances in America.
1t is performed with subtlety and
finesse by skilled players Of Individual
distinction. It is mounted with su-
perb lavishness, and an artistic atmos-
phere pervades it. throughout. The
droll and fantastic complications of this
most amusing of French farces are all
the more provoking because the
mistakes involving it's personages are
perfectly clean and apparent. Unlike
many witty trifies transplanted from
the Partisan stage, it does not involve
the theme of marital Inconsistency. Its
characters are perfectly proper peo-
pie, and it's events move along in logl-
cal sequence TO delightfully."- absurd
conclusions. The first act develops
drol story; the second act eliminates
with one of the most novel situations
devised by playwrights; the third act
is uproariously funny. The cast has,
been especially selected for the light
and frothy parts which they assume,
and include such artists of distinction
as Isabelle Evesson, Jennie Reitfarth,
Ada Deaves. Marion Ballou, Lillian
Coleman, Signor Perugini, George Hol-
land, Louis Imhous, Hudson Liston,
Uric B: Collins and Ross O'Neal.
Nearly four years ago all Paris was
in fever of excitement regarding the
new farce, which was produced at one
of its local theaters. The people along
the boulevards shouted to each other,
You must go and see La Tortue,"
and some further added: go there
late; don't miss the second and third
acts. Don't fail to have a peep at the
bridal chamber. It's the daintiest, but
still the most audacious thing you've
seen upon the stage"
The boulevardiers were correct; but
as performed by the American COM
pany the scene is charming and poeti-
cal, not vulgar and sensational. This
strikes the keynote Of the irterpreta-
ton of this fantastic. ,.;iyolity
That Paris was correct iu Its opinion
of 1.-THE Turtle" is eviien>5d by the
remarkable prosperity of tEs play when
it was produced in this country Two
hundred and two consecutive perform
ances in New York city is a remark
able record, and it has outlasted all of
its earlier competitors 1t became such
fad and attracted so much attention
that upon many occasions the orchestra
was driven under the stage Porcu-
pine darts of criticism were Launched
upon THE Turtle" when first produced,
but they made no particular impress
sion upon it's SHE'LL and it came out of
New York with the record of having
outlasted and eclipsed every other pro-
duction of the current season. 1t is
conceded that it has the funniest third
act seen in any of the recent farcical
lmportations, and that no play pro-
duced in New York has been better
acted.
The United States supreme court will
hear arguments in October in the old
case of Daily VS.. Brady, or, as it is
known to the world, the case of Under
the Gas Light" VS.. After Dark" The
suit has been dragging through the
courts for many years, and the CON
tention is over the right to the cele-
hrated scene OF the rescue of the hero
from railroad track on q bridge over
which an express is about to pass.
AuSustin DAILY used this scene with
great effect in his well-known melo-
drama, Under the Gas Light" Later
the same scene appeared in After
Dark. Suit was brought, and Mr.
Brady won the case twice in the lower
courts, but the court of appeals for
the Southern district of New York gave