Evening star. [volume] (Washington, D.C.) 1854-1972, 1900-03-17

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and thought expended by the manager in
preparing production like Aria for pre-
sentation. If the subject of the play is his
torlcal in its aspect, and the epoch one
whlch Well-informed people are more or
less familiar. the production to satisfy the
critical taste of today must be correct in
every detail. Within the last dozen years
stage technique has become necessary to
the success of Illustrative art for instance,
a painter of today who would find profit.
able market for his works must clothe his
characters correctly and surround them
with every feature belonging to the period
In which he has placed them. 1t is the
same with the manager undertaking an i'm
portant production of a play. Within the
last twenty years managers in this country
have realized the necessity of complete
stage representation, and from year to
year the advance in this direction has been
very marked. Stage art has increased.
What the presentations of a decade ago
contained would not be accepted today.
The necessary accessories governing a pro-
auction entail months of work. For in
stance, the costumes are great essential,
the design must be as to the period; they
must be graced with the modiste'S art in
every particular. The furniture must be
built according to models by expert cabinet
makers; carpenters must build the scenery
and have men with ability to apply the
brush.
The shoemaker is an important person
as well, as he must have the fit for each
individual member of the cast. All these
little details are taken from designs of the
period of which the play treats, and the
manager is the unfortunate individual
whose responsibilities are SO many. And
again, he Is fortunate in a pecuniary sense
II the subject NATTER the play he is pre-
senting. is a success financially. That is
what he is looking for from a commercial
standpoint. The thing well done on the
stage of today is usually rewarded. and it
Is said that Manager Edward c. White has
a success in reward for his indefatigible eff
forts in promoting Mildred Holland In the
big production Aria"
Some comment has been aroused because
Clyde Fitch has made new character for
the name Barbara Frietchie." Here is
what Mr.. Fitch has to say on the subject
Il really have taken no license or liberty
with Writers poem unless it be my using
IN my own way the fictitious episode which
Whittier secured from Mrs. Southworth and
himself first used in his own way. The
legends and facts of a country are the hap
used. If past time is our precedent, over and
over again. 1 tried to idealize the fact and
legend of Barbara Frietchie SO as to re-
vivify the spirit and manner of the old war
days and revivffy them in the spirit of true
sentiment and patriotism. Winters poem
is practically as false to the truth as my
play; he made Barbara stronger than she
was; made her younger q wonder if she
would have so much objection to that as
some of my critics.. l felt had the right
to idealiZe the facts in my own way if |
could make a successful play, and the true
facts of Barbara Frietchie are as follows:
AT the time when Stonewan Jackson
marched through Frederick Barbara was
ninety-six years old and. besides, bedridden
She hadn't the strength to have waved the
flag If she had wished. She did not see
General Jackson. nor did Jackson see her
l have all of this from one of General Jack
sons staff officers, and at present living in
Hagerstown, who was with jackson every
minute of the time he was in Frederick, and
marched out with him / only regret to
add that have it also on the authority of
Barbara Frietchie's relatives that her 10y
ATTY was strongly open to question and
that If she had waved any flag in face of
the rebel troops it would most likely have
been the confederate banner
Now, these facts are free to the drama
fist to idealZe in his way as well as To the
poet. are they not? l think the history of
any conntry's literature will uphold me-
Had Winters poem been an historical
document that would have been a different
thing.
Julia Marlowe was chatting with a party
Oh TRENDS the other evening and was led
to remark that audience assists an
artist greatly in gaining effects in certain
scenes. "Ill explain she said 81 have
had people say to me- How you must have
suffered in that scene! Why, actually YOUR
face turned gray with fear-was 1t a cal
CUM effect? OF course, my face did not
change color, but they expected that in
such a situation 1t should do so and tn
their hypnotized vision, it did,
me conversation turned to the oft-mooted
question of how much an actor eeeIs Of
the part he is playing. One of the party
told a pat story.
Ben Jonson once asked a critic If he be-
the viliainy he portrayed in Richard III
Yes, undoubtedly" said the critic
Then he ought to be hanged every time
he gives the performance" remarked Jon
son.
Miss Marlowe admitted that she never
loses her personality. even In the most
lmpassioned scenes. Yet, she cries through
poor Barbara's woes and cant sion cryinr
for several minutes after she leaves TIE
stage in the third act. She asserts +hat
an actress possesses a dual consciousness
on the stage. ,~ =.
Because I have achieved success with
the New Grand and extended NV wanda
Vile operations to 1.-THE Lyceum Theater
Baltimore. which have leased and viii
manage in conjunction with my home thea.
ter. said P. B. Chase, certain news.
paper men have gone me one or two bet.
ter and have without authority or tact tn
support them, credited me with plans and
ambitions undreamed of by me- In the
flrst place, ! have not leased the Duquesne
Iheater In Pfttsburg or any other theater
there. nor have ! negotiated with anv one
or planned any like project in that city.
In the next place. / am not conspiring with
certain Quaker city manager, as wrongly
stated, to form vaudeville trust to in
ciude score of theaters. Thirdly. have
not concluded an arrangement with Mr.
Hashim of the Philadelphia Grand Onera
House for the exchange or sharing Of at
fractions" I.
CARIISI. II INDIAN SCHOOL oonroz1.u