Evening star. [volume] (Washington, D.C.) 1854-1972, 1900-10-20

opera Foxy CUTLER Is brimful Of mag
netism and his success with large choruses
Is perhaps due to this important gift. Re
Gently while rehearsing the chorus of the
roxy CUTLER Company he found a particu-
lar bit of musical shading which seemed to
elude the singers.
First he sang 1t to them then he had the
orchestra play it, but when the chorus tried
the measure they were still faulty. Then
De Novellis stood up and fumed out a tor
rent of mixed Italian. French and German,
winding up with "for heavens sake. ladies
and gentlemen, can't you understand Eng
lish?' There was a laugh all round and
the chorus sang the measure as the director
desired.
Maclyn Arbuckle, in whom Washington
feels a great deal of interest, finds his
career as a star still in state of expert
mentation. THE Gentleman from Texas is
rot to be produced. Molle Elliott Seawelrs
prize story, THE Sprightly Romance of
Marsac," has been dramatized by William
Young, the playwright, who gave Ben
Hur, THE Rajah" and other successful
works to the stage, and will receive its
nrst presentation at the National, Novem-
Der 8. The production will be unusually
elaborate and will have a cast of exception
al brilliance. headed by Mr.. Arbuckle, and
including w. ]. Ferguson, Edwin Abeles,
Harry Bergman, Horace Lewis. Claude
Brook, John F. Denton, Margaret Fuller,
Sandolin sMilliken, Kate Lester, Laura
Clements, Annabel Whitford, Leona Nor
bury and Violet Carlstedt. The occasion
VIII be Mr. Arbuckle's first appearance as
full-fedged star. The story deals with
adventures of "Marsac," young journal
list of Paris. and his friend. the artist Fon
tame, two impecunious Bohemians, who are
head over heels in debt and are threatened
with all sorts of trouble. At the climax
of their difficulties Marsac secures the pub
lication of a story to the effect that Fon-
tame has inherited two million francs. The
attitude of the tradesmen and the credit
ors changes and there is enough lively COM
edy for dozen farces.
Edwin Milton Royle and Selma Fetter Royle
were both well-known players before they
We're married, and were afterward distin-
guished stars the Legitimate" stage be-
fore they took to vaudeville. Mr.. Royle en-
tered theatrcals and wrote Friends and
later Mexico Selma Fetter made a hit
as the widow in Bronson Towards Henri
eta at the Union Square Theater, now
keith's New York. and in other prominent
roles of serious character well as in the
comedy vein. Her marked talent as an act
rcss is accompanied, as the more thought
full critics have often remarked, by
thorough womanliness of nature and de-
meanor which imbues everything that she
does with peculiar charm. Both men and
women feel this, and in the witty and hui
man little plays which Mr.. Royle writes
since they have become perennial head
liners" like Captain Impudence." THE
Highball Family" etc, Mrs. Royle is
Mrs. Royle used to do a comic fall in
the old days of Henrietta at the
Union Square. The same fall is one of
the features Of 1.-THE Highball Family" and
when they were at the Keith. New York.
house last week. Mr.. Royle declared that
she struck on the same dent she made In
the stage when she was with Robson.