Evening star. [volume] (Washington, D.C.) 1854-1972, 1900-02-17

1t was produced in Berlin in 1889. when he
was tWenty-seven years old. The Sunken
Bell is the ninth Of the ten plays that
Gerhart Hauptman has thus far thought
worth preserving. His latest play is
"Fuhrmann Henschel," and is great sue
cess. Hauptman is thirty-seven years old.
amid the scenes in which THE Sunken
Bell are located
Forty years have passed since Dickens
wrote "a Tale Of Two Cities" and not until
the appearance of 1.-The only way has there
been meritor1ous dranlatization of the
book. Dickens conceived the story while
acting in amateur theatricals. Its posi-
bilities absorbed his mind and he literally
lived through it's scenes and incidents.
Carlyles French Revolution" stimulated
him in an unusual degree, and he never
tired of expressing his obligations to that
wonderful prose epic. He acquired a Won
derful mastery of revolutionary Paris. He
was most scrupulous in verifying every
minute detail of place, scene and charac-
ter. He consulted original documents and
rare books, from which many hints were
obtained.
That was ten years before Dickens con-
ceived the idea Of "a Tale of Two Cities
Once the plan of the story had formed in
his mind. he was interchangeable in collecting
information for the book. Dickens was
himself conscious of the dramatic posi-
bilities Of "a Tale of Two Cities" He made
special journey to Paris for the purpose
of an interview with Regnier, director OF
the Coincide Franchise, to urge the dramat-
iZation of the story for the home Of Molere.
Regnier listened to him courteously and at
tentive1y. and is believed to have been inn
pressed with his argument that such play
would appeal very strongly to the French
people, but no attempt seems to have been
made to adapt IA Tale of Two Cities for
the French stage. Several English dramati-
cations were tried. but none of them met
xxsitf, tl,o Of
A very amusing incident Is recalled which
occurred at the time the famous novelist
began this story. Happening to meet His
torian Carlyle one day, Dickens asked him
IL he could lend him few volumes Of au-
thorities bearing upon the subject.
with pleasure" replied Carlyle.
The next day two immense drays. loaded
with books bearing upon the French revo-
home of the novelist.
The actors career may be romantic. but
1t is not at least in the instances of high
purposed and strenuous creators, merely
"a primrose path of dalliance." Richard
Mansfield, asked what is the first requisite
of an artist, is quoted as having replied
tersely, If not systematically, Work.
All that man or a woman brings to sue
cessful stage effect without work is merely
talent, the gift of nature. All that is
with the definition of an obscure philoso-
pher that "art is the assistance which man
lends to nature"
The audience give a minimum of thought
to the labor that an actor veneers over with
artful suavity. To say that Mansfield, for
that he plays Cyrano de Bergerac sounds
impressive, but it is the least of his work
To remember becomes second nature to the
actor. Words come after practice with
ont he farrihla nOSSihiljty is hat
one word may slip into the wrong place
and that the player may have to pause and
think out that maze of words, words, words.
THAT is racking," says Mansfield
Cyrano begins at 7:45. and 1t is not fin
ished before 11:15. Mansfield always reach
es the theater at $780, for his makeup is
a matter of patient care. He scarcely ever
leaves his dressing room for his carriage
before -. Meantime he is on the stage
nearly every moment the curtain Is up. To
be on the stage means he Is working with
his memory, with emotions, that he Is ges-
ticulating, that he Is walking nearly all
the time. 1t might reasonably be expected
that the extracts would bring rest. On the
contrary, tired and perspiring with the
three-quarters of an hour on the stage, he
rlishes after each curtain to his dressing
room and changes his costume from head
to foot.
The imagination pictures a eozy den for
the stars dressing room with mirrors and
lights and attendants. The other day
chronicler wrote thus Of Mansfelds dress
ing room: st Is a square little box of a
place, with gray walls and high ceiling.
The dark corners up there suggest a spid-
er's coy corner or two, and distinctly 1
heard the rat-a-tat-tat of busy mouse
gnawing in the plaster. A big mirror re-
fiected the crowded chaos of trunks, cos
TUNES, swords, hats, wigs and lights-lights
which poured damp flood of heat against
you like the vapors of Turkish bath, for
this room had no smallest ventilation, ex-
cept through the one door that led onto
the stage. Through this door came the
noises of shifted scenes, shuffied fur
niture and even the tramp of horses hoofs,
as the white chargers were led by to their
places in the big coach s traces. Heat and
noise! That was the impression and the
fact. How can an artist exist in 1t, much
less remember, feel, plan and act?
rushed out into the fresh air with inexpli-
cable relief. Mansfield had endured it for
three hours: he had two more Of 1t before
him; five hours tonight and every night!
1.-THE history Of Throw Him Down, Nc
Cluskey,' is that what you saidY" replied
Maggie Cline to her interrogator as she
stood in the wings Of the New Grand stage
last night waiting her turn" which was
next after Edwin Latel.
"I don't know that 1t has any history Of
interest. It was an old song when i got
hold of 1t, just ten years ago, but it seemed
to me that after had begun to sing it
IL
Because 1t was sd different, you say? May
be. You see, went at that song with the
idea that would develop its comic pos
sibilities. There's none in the music and
little in the words. It's in the crash
invented this crash The surprise occa-
stoned by the crash inspires laughter very
much as the fall Of sedate citizen on. q
banana peel will make rippies of laughter
follow his wake on the sidewalk. My his
tory? No, am not an Irish woman. / am
more of g. Yank. I was born and lived at
Haverhill, Mass. So you can tell for YOUR
self that I'm a down-easter. I have no new
songs in prospect. l don't care anything
for them. The old ones go best When 1
hear song If like 1t, then 1 know the
public will. Sounds egottstical. Ell? It's SO.
If song appeals to me as funny, then /
enter into 1t with all my heart, and it's
easy to make the audience feel as / do.
Why didn't / sing 'Arrah. Go Ong The
reason Is I've forgotten 1t and hadn't the
music with me. I forget song very soon
after I've changed to another. Personally I
don't care anything about songs. Really.
it's true. They don't reach me the way
they do some people. My ambition? To get