The Salt Lake herald. [volume] (Salt Lake City [Utah]) 1870-1909, 1900-01-28
DOG STAR ON THE STAGE.
He Is Leading Man In Robinson
CTuSOe.

Crusoe.
NJ Rochard, manager Of one Of the
large Paris theatres. gives an interest
ing account Of certain members of the
cast he has engaged to play a grand
fairy drama from the story Of Robin
son CFusOe. The hero. as everyone who
can read knows, was cast upon a
desert island with only a dog for q
companion. He eventually captures a
goat a Monkey and a parrot. The
play Is now running in Paris and the
four animals play the most important
roles. So clever are they that they
have CaptiYated the whole city. The
dog. especially, The parrot had an ex-
ceptional chance TO shine. for he had a
speaking part, until he became so dis
orderly that it was taken from him
The chief interest now centers in the
dog. There are any number of wise
dogs mathematicians, who make add
tions and subtTactiOns. others who play
at cards, some at dOminOes and there
are acFObatic dogs innumerable; but
there news was a greater attraction
than Faro II, now playing the part Of
Toby, Robinson's faithful companion.
Faro belongs to an artist of Paris,
Charles Weisser. He is a shepherd
dog of Brie very much akin to the
Pyrenees breed. He came of excellent
stock, his father. mother, grandfathers
and grandmOthers were well known
prize winners at the bench shows.
Until he entered the theatrical pro-
fessiOn he lived quietly and happily in
the little cottage home of his painter
master at la Roch-Villebon, NJ, ROch-
ard, who was in need Of a dog for his
Robinson CrusOe heard of his reputa-
tion for intelligence and obedience, and
ro.Ir 4 linz n
a good salary,
Faro always remained Faro, though
in the play he became Toby. He was
what actors call a quick study and was
soon perfect in his lines. Though he
has become the almost constant COM
paniOn either of Air. DaTtmOnt (RObin-
son Crusoe), a, Paugand (H'Tiday) or Of
NJ Rochard. vet he never fOrgets his
masters. At the theatre he readily an
sWeTs 70 his stage naLis, Toby" but
awey from it is is useless 10 call
Toby" as then he only recognizes his
proper name, Faro. During rehearsals
he often enjoys siesta in the private
room of the manager, but The instant
the call boy cries. Toby, on the stage,
he is off 10 the wings like a shot.
During the course of the play Rob
ins0n shoots a bird. Faro bounds after
il and carries it back, not TO his mas
ter but. climbing a ladder TO the hut,
he gravely turns it over to the cook.
Friday. He knows every cue, and at
the proper time without waiting TO be
told. trOt5 off to fetch the thread, pipe,
vegetables and kettle. He enters into
the very spirit of the play. He is quite
detected when Robinson is sad, but
jumps with glee when his master is fin
ally restored TO his wife and family
Iushiug off 10 awaken his companions,
the goat and the monkey, to break the
goou tidings to them.
The goat has q very simple part. She
has merely to assist ar the family
meals of Robinson and Friday. But the
monkey All, that COMPOUNDED mon
key" said NJ ROchaTd. He gives US
no end of trouble. He is not over
particular about his part; does not in
the least seem to realize or appreciate
the dignity of his profession, and
when wanted at a critical moment is
as often as not to be found in the dress
ing rooms, picking the pockets Of the
performers once he deliberately
sprang from the stage and climbed into
the stalls, 10 the CONSERVATION of a
party of ladies and children"
As for the parrot, NJ. ROchard wanted
at first Macaw. but the three or
four experimental with pro red so ter
Tibly vicious that he gave up the idea
of MacaWs and took on W lat locked
10 be a very Incorporating parrot, who
soon learned TO say that Friday was a
fool and didn't know the kettle. But
he never could be relied upon to speak
his lines at the right moment. 1t de-
yelOped a fOndness for low company,