Evening star. [volume] (Washington, D.C.) 1854-1972, 1900-03-10
MUSIC

The Lenten influence was not so percep-
ible at the theaters as might have been ex-
pected. 1.-The Belle Of New York. gleefully
defied the somber traditions of the season,
and the admirers of the romantic drama
were duly attentive to the offerings of
Mr.. Howard Gould. who still ranks as
a rising young actor, despite the fact
that he has already reached very en-
viable altitude. Mr.. Gould was engaged in
the exploitation of a play which represents
a growing tendency to encourage feminine
talent. The two ladies who wrote his play,
Abby Sage Richardson and Grace Furniss,
wrote the play In which James < Hackett
Is meeting with conspicuous success, THE
Pride Of Jennico." 1.-THE Greatest Thing in
the World. was written by two women
Martha Mortons plays are to be considered
in connection with theatrical affairs and
Madeline Lucette Riley's productions hold
a nigh place in popular esteem, despite the
fact that they are not being seen so nu-
merously as they were a few years since.
Lottie Blair Parker Is recognized as a
writer OF pastoral comedies IL not of war
plays, and Alice Ives is a notable figure In
theatrical authorship. The principal Amer
Is Elisabeth Marbury, and her relationship
with authors would naturally make her a
valued adviser to some of the leading New
YORK managers The mere fact that women
appeared on the stage was a shock to the
sensibiltties Of the public not so very many
centuries ago. What these people would
have said to the proposition that women
should write plays and direct rehearsals is
a matter Tor conjecture. Lucky the lady
whose superior genius tends to the play
mouse and not to the forum The platform
OF political and economic discourse some
times affords the feminine genius but a
aerar, I,,t% H.
theater filings open the stage door and well
comes her courteously to its most distin-
guished company.
That disciple of garrulous friyolity.
Hugh Norton (Which, as everybody
knows, is not his right nance. was perhaps
never more felicitous in constructing nom
sense rhymes than in 1.-The Belle of New
York. He has welded his words with the
same irresponsible freedom that Kerker has
shown in combining his musical IDEAS Very
possibly few people would recognize the
right name of the froicsome litterateur If
they heard 1t. In an old copy of a literary
magazine is an article by C. NJ. s. McCleIland
which deplores in scholarly terms the
tendency to fmpersonal literary work. Mr.
McClelland would have no cause to sympa-
thize with writer even of frdvolities who
has established so popular a nom de plume
as Hugh Morton"
The Strakosch Opera Company gave light
opera to an increasing patronage, which
welcomed the old musical favorites very
heartily.
At the New Grand Opera House Miss
Mabel Maitland was called in the latter
part OF the week to take the place of
Lydia Yeamens Titus, who was required
by her physician to give up her work.
Miss Maitland charmed many admirers of
negro dialect by her representations, and
won the applause of the cynical by her
self sacrifice In not reciting THE Absent
Minded Beggar. Such an abstinence must
represent much self-denial on the mart of
the modern elocutionist. The bill aver
aged very well with the trained horse Bon
ner making very sturdy bid for top-line
honors.
The devotee of the legitimate was fain
to turn himself Academyward this week.
Thomas Shea gave a repertoire of thrillers,
which averaged well above the conyen-
uonal standards of popular meIodrama.
Mr.. Shea is an actor whose methods more
nearly approach those of the old school
than those of any other who has been here
in long time. The defects in his per-
formances which might have offended a
highly critical sense are due to the i'm
mense amount Of work he has undertaken
In staging repertoire of this kind and
with frequent changes Of bill rather than
to lack of Intellectual appreciation on his
part.
1t seems pity that a mere matter of size
should play so important part in the hopes
Of an actress. Here is Toby Claude frisking
into popularity because she Is little and
Jobyna Rowland, Hacketts leading lady,
deprived of place for which her talent as
an actress would undoubtedly qualify her
because she is exceptionally tall. Toby
Claude is one of those chance occurrences
who drive to despair the old-timers who
m rnrlv
must tudy-study-study." Just why they
always say study three times is one Of
the mysteries of the English language
Miss Claude Is unconventional and irresisti-
Die from the moment she starts her name
in Irish and ends It in French on the pro-
gram until she makes her final exit from
the stage. She is evidently regarded by the
mana cement as strong enough to fiji the
when she goes to London to play in IAN
American Beauty" Miss May Is one of the
most winsome and at the same time one
of the most methodical actresses, and prob
ably needed a London vogue to establish
her as a favorite of the first class in this
country. 1t cannot be said that her work
has improved through transoceanic train
ing. THE Belle" will soon go to the far
west for protracted tour. The intrinsic
merit Of the opera Is demonstrated by the
fact that 1t can get along without the vivi-
Tying presence of two such celebrities as
Dan DAILY and Edna May, both of whom
were originally regarded as absolute essen
tials to the cast
There Is doubt as to what Howard 9ould
will do next season. 1t was currently re-
ported that Daniel Frohman had decided
to give him the opportunity which his popu
larity and success seem to claim of star
ring in new production. Mr.. Gould savs
he has nothing definitely in prospect for
next season. Mr.. Daniel Frohman already
has two male stars who might reasonably
be expected to utilize all the good NAV
material which comes into his hands-E
II. Sothern and James K. Hackett The
Lyceum Theater and his stock company
make up rather formidable sum of enter
prises for the attention of one manager
There is no doubt, however, that Mr.
Gould will be taken care of in a manner
worthy his very conspicuous attainments.
Sol Smith Russell seems to find his great
est relaxation in going to the theater. He
has been a devoted patron of recent at
fractions. When George Grossmith gave
his object lesson on how London is
amused. Russell was in the audience. Mr..
Grossmith put Mr.. Russell's name into his
monologue. and 1t scored one of the laughs
of the piece. Audiences have gotten so
much into the habit of applauding the