The times., 1899-03-26

ance without misft suit or a supposedly
funny makeup. said nothing about going
to a concert this evening and | guess I'll
rehearseS before beginning and altogether
left out the clownishness that is so an
noying for musical Offering that was
really musicianly. Though ne PLAYED on n
great variety of instruments, there was no
attempt at trick matter. Mr. Amsden sim
ply gave logical explanation of what he
was going to do. and then did 1t we'll His
is the style of turn needed in vaudeville
All the most requiring demands n1w of
that sort Of entertainment is that IL shall
be partially intelligent, and Mr.. Amsden's s
act was altogether so.
Although every critic of consequence in
the country has commented upon Harry
Gilfoils impersonation of Baron Sands IN
"A Stranger in New York sufficient
credit has not yet been given for that mar
velous work. Mr.. Giifoil is the entertainer
who first brought out the power of the
mouth in mimicry, and whose whistling
speciality was probably the feature OF "A
Trip to Chinatown" But no one who
saw him then as n dapper young
waiter suspected the ability that has since
been developed. Baron Sands. as por-
trayed by him. is the Baron Chevrial of the
farcical stage. and in its way Mr. Gifoil's
roue is as notable as was Richard Mans
fields. The scene in "a Partisan Ro-
nance" wherein the decrepit nobleman
attempted to lift a dumbell was no more
artistic than is that of "A Stranger in
New York" in which the ancient merry
maker endeavors to sing and dance. Mr.
Giifoil whistles as we'll as of old. but no
one notices his specially now. The i'm
personation is so fine and intelligent and
detailed that it overshadows everything
and everyone else in the production.
Though a reviewer should be the last per-
son in the world to deny that "the pays
the thing" last weeks experience with
Hotel Topsy Turvy" goes long way to-
ward forcing statement that the players
have very considerable share in making
it "the thing" When Edgar Smiths
adaptation of 'Tohu Bohu'' was presented
in September at the Lafayette Square
Opera House it created rather favorable
impression. The piece was horsey and Of
ten unmelodious. but it seemed to have
dash and spirit. great opportunities, and
several OF its scenes were genuinely hu-
morous. AT the Columbia the farce was
stale, nat, and profitless. The difference
was undoubtedly in the producing organ
ization. and chiefly in the fact that Marie
Dressler had been taken out OF the cast.
Amelia Summerville. who assumed Miss
Dressler's role for the local date will be
remembered for her work in "Adonis."
She was not surprisingly good then. and
she is worse now. The part of the proprie-
tress of Cluny's Colossal Combination is at
best not refined one. and Marie Dressler
has never been accused of being a refined
woman, but she gave the character touches
of sentiment and realness that made dou-
bly, effective the broad burlesque of her
work. She had mannerisms. too. that
rather pleased one, and was full OF the life
and chic of the part. But Miss Summer
vile fits in the role much as a large toy
range fits on the stage of a small toy
theatre. and seems about as much in keep
ing with her surroundings. She plays
Flora with unnecessary coarseness, and
without sign of the subtlety that markell
the efforts OF her predecessor. Unable to
sing, unable to dance. unqualified to act,
Miss Summerville presents sad spectacle
in the part II she had been engaged TO
prove the ability of Miss Dresser she
could have labored to no better advantage.