New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1900-10-21

maturity those of the 1895 vintage are taxi
ing rank with the exceptionally good years
of 1892 and 1893. md that the champagnes
of 1898 are developing admirably and have
already attained great delicacy distinguished
flavor and character. The bountiful vint-
age I'm the Medoc region and the excep-
tional quality Of the grapes there have
caused a tremendous slump in the price Of
clarets. and something approaching a panic
prevails in the wine market at Bordeaux. The
Figaro has dispatched M Jules Huret one OF
its most enterprising staff correspondents, to
report on tie vintage. He says. and NJ. jan
neau, vice-president OF the Cognac Syndicate,
confirms IL, that the production of brandy viii be
30 per cent above that of last year. and that
the gnac-naking wines contain much less al
cohol than usual. which is exactly what is re-
quired to make the highest grade Of brandes
Reports from Burgundy show the yield to be
third greater than last year. and the quality Of
the Wine although more varied than in the
champagne and Bordeaux districts. the whole
is better than for many years past NJ. Huret
says that the grape yield in Medoc this year is
enormous that the growers find it impossible
TO store the wine. not having enough casks for
it. Such is the giut in the supply that sound.
drinkable claret is sold for one cent gallon.
A great fall in the price of brandy is also
pected
The theatrical week may be characterized as one
of great action, but no speed. Five new plays
have been produced, three Of which are distinct
failures. A vaudeville called Les Quatre Coins
de Paris in three acts and six tableaus, by
Albert Barre and Armand Numes, brought out
at the Theatre Cluny, is a bright. sparkling bit
Of cocasserie, which presents novel scene laid
in hammam or Turkish bath. in the Rue des
Maturins; but the action. moving in a circle.
becomes monotonous, Notwithstanding the capt.
tai acting of the we'll drilled, compact little stock
company Of the Cluny. The play is likely to
have a fair run, however. owing to the frisky
performances Of three very young and very
pretty actresses Miles. Riva, Favelly and
Foucher. who attract a public almost wholly
composed Of students. La Guerre en- Dentelles,'
a five act drama, by Georges d'Esparbes,
brought out last night at the Odeon. based upon
episodes of the Seven Years War. is beautifully
mounted. and serves a clever historical
ctnematograph It is we'll acted by Mile Valen-
tine Page in the leading character, and by
Mesdames Frommont. Maud. Amy, Maille and
Muraour, who dance gavotte and minuet with
animation and eloquence which replaces that
which is painfully lacking in the dialogue. The
play has no backbone and is likely to have only
a short life.
Intense theatrical emotion was caused at the
Theatre de GreneIe on Wednesday night IN the
performance Of La Gonaleuse.' The villain of
the piece was played by Duac. who has to stab
the hero. impersonated by Huberville. The
dagger used is what is known in stage parlance
as a trick dagger. with blunt blade which runs
up into the handle, where 1t becomes tnged with
red and springs back into position when with
drawn. This spring Wednesday night
out of order and Dulac unintentionally inflicted
such a terrible blow upon Huberville that the
latter fell bleeding and senseless. and had to be
removed to his home in an ambulance. 1t was
not until eight hours afterward that the doctors
declared his life cut Of danger.
the Temps" expresses keen qualification at his
election as honorary member of the American
Wing Society of Princeton University. and has
accepted the invitation of the French Club of
Harvard, to lecture in the United States
lie Theatre Contemporain' NJ. Deschamps is
preparing for the purpose a course of eight
lectures. the first on Dumas fills, Meilhac
Halevy. Pailleron Angler and Sardeu; the sec
ond, on the question of marriage as anaiyzed
and presented on the stage by Paul Herveu;
the third family life as depicted on the modern
stage, with a special study of Brieux's bold and
startling innovations; fourth. social questions
with analysis Of FRANCOIS de Curel and the
functions of the Theatre Antoine; the fifth, the
satrical theatre. with studies OF Henri Lavedan,
Maurice Donnay, Alfred Capus and Abel Her
mant; sixth, the successors of Labiche; seventh,
the heroic and religious drama of Henri de Bor-
nier and Edmond Rostand and eighth a dis
cussion to whether the French drama is in
! decadence or renascence. GLIB.