The Seattle post-intelligencer. [volume] (Seattle, Wash. Terr. [Wash.]) 1888-1914, 1900-05-06

one OF the best. Musically II has no SUI
periors. The organization includes forty
people, two brass bands and a superb or
chestra. II gives a good, clean, pleasing
entertainment and one that is sure to find
favor with the patrons of the Third ave-
nue. theater.
FOLLOWING Barlow's Ministries at the
Third Avenue theater commencing
next Sunday night, Russell & Drew
VIII offer their patrons a home production
OF Quo Vadis." By a home production
is meant that all the scenery, parapherna-
liza, furniture, etc, used in the production
will be manufactured in Seattle. Instead
OF modern furniture occupying the stage
antique furniture will find a place there.
The production will be embellished by
prismatic fountain that will be a strong
feature.
The company has been specially engag-
ed. and embraces among its members
Richard Scott, who made such a favor
able impression here last season as Cy-
rano De Bergerac: L. ]. Plummer late of
the Shirley company; Hallett and Watson,
OF the Sam T. Shaw company; Miss Jessie
Cunnington Collins and Miss Louise Car
Ter, both young actresses of much talent:
f. Flahavan. late of williamson's famous
Australian company: Harry Converse, and
other actors of ability. r. f. French will
L.
be seen as Ursus, the herculean slave. a
part for which he is especially adapted.
Manager Russell promises the patrons.
of the Third Avenue theater a scenic pro-
duction equal to anything ever witnessed
In Seattle. Sheridan Jenkins the scenic
artist of the theater, has painted all the
scenery. His scene OF the burning of
Rome will be superior to anything OF the
kind he has ever attempted. He has for
his use In the task copies of original
paintings from the archives of the Vati-
can and has been at work steadily during
the past two months.
" "
ePEAKING OF the Sardou PLAYS and her
preference for them, Blanche Walsh
says: 'Gismonda' Is the most ex-
hausting physically. There are great
depths Of emotion in It and 1t necessitates
greater effort and is more Of a strain up
on the nervous system. My preference Is
Cleopatra the sorceress of the Nile pos
sessing a weird fascination for me. Tho
majority of Americans seem to be under
the impression that Sardouu's pl vs. have
no reason for being but to furnish an out
let for Sarah Bernhardt's genius and char
acteristics. This false conception has
given birth in this country TO the idea
that Sardou's works are immoral, I'M
wholesome; that his plays consist only of
fine dramatic situations and marvellous
technique; that they teach no lesson,
preach no warning. in short, serve no
other purpose but to demonstrate great
histrionic ability.
las an American delineator of Sardou's
heroines. have naturally given the mat
ter some thought. l am not in accord with
the accepted opinion. In each OF Sardous
plays find a sermon preached. a warning
uttered. Underlying each play l find the
purpose to formulate a wholesome truth.
For example, La Tosca' symbolizes the
will to jealousy and its dire results; 'Fe-
droa' the will to vengeance. and the ven
geance Is treated In so virile a way that
on tho fall of the final curtain can almost
be heard Vengeance is mine: / will re-