The times. [volume] (Washington [D.C.]) 1897-1901, 1900-02-18

|
than do their doubtful brethren. Until
] Stuart Robson and William II. Crane
Joined forces. it was deemed extraordinary
| for any player TO ask more than 81 for the
| best chairs in the auditorium before which
| he ventured. Provincial trips were as
| costly then as now. The present sl.J0 tate
was reached through the gradual means b.
which exploiters of popular comedians and
tragediennes are eleyati>g prices TO the
/ 81 mark-where assuredly they viii rest
| Thin five years
May Irwin the only prominent Thesrlan
who quotes Washington figures on Broad
! way declares that no genius before the
public can provide a performance view
of which is worth So. George Tyler. wnu
constantly is declining Suggestions that
he take all he can get for Viola Allen
tickets. believes that the policy of held
ing-up'' patrons is short sighted one But
If the privilege Of witnessing an Indifferent
rendering of why Smith Left Home or
THE Cuckoo" is TO relieve the witness of
Sl.50, there seems no good reason TO urge
against the act by which such luminaries
as Richard Mansfield and Mrs. FIske de-
mand 81. II the thoughtful will quarrel
with either. they must continue down the
line to entertainments of the order of
over the Fence" and Devils Island
which certainly should not be valued at q
by Annie Russell and Nat Goodwin.
The gist of the mistake is in the idea
that any attraction offered at first-class
theatre is first-class attraction. When
the Frohman Hayman Klaw Erlanger-
Nixon Zimmerman syndicate was attacked
by Harrison Grey Fiske. its principals al
fected to find confidence in the fact that
their direction could not prejudice
the amusement-loving in the slight
hat foil
on a meritoricus combination. who
ever managed the combination. or
wherever IL played. If this be true
and there is no doubt that 1t is-each or
ganization should have its own admittancc
rate and maintain the aforesaid rate ire
spective of the charge customary at the
resort in which ii is placed. why Smith
Left Home" should not be presented at
sl5o. because it comes to the Columbia
any more than at 50 cents. in case il was
sent TO the Grand. There is neither rhyme
nor reason in any other schedule OF prices.
Even from a purely commercial viewpoint.
il does not appear just that Mr.. Mansfield,
who carries 100 employees and several cars
of investiture. should receive only the adj
mittance fees paid John Drew. who carries
six supporting people, an interior set and
an exterior one.
But. as has been observed. the general |
charge is too high. Il is absurd to demand !
for three hours entertainment a sum that
would pay for a days board and lodging at
respectable hotel. The prohibitive rates
quoted by managers form an unanswerable
argument for national theatre.
a correspondent takes exception to the
tobe OF Tuesdays criticism on THE Great ,
est Thing in the World" and writes 10
suggest that 1t does not conform with the
position maintained regarding earlier
plays You say he comments. that
the piece has an advantage over either
'Zaza' or Sappho' in that it is cleaner.
and yet YOU invariably have urged that
works of art be judged solely on their
inefftsyi This is the substance of the COM
munication.
The epistle is very absorbing. all in all
If only because it gives an opportunity TO ,,
correct n wrong impression. The Times
honestly has urged that works of art be !
judged solely on their merits, but the paper !
believes that cleanliness is n merit. 4 /
strong drama must have a good effect. |
whatever its superficial aspect. and SEEM |
ing sack of purity cannot spoil fine BRAIN |
product Everything else being equal. how |
ever, the offering that is without moral |
faint must be more worthy of coInrenda I
ton than is any other. The acknowledged |
difficulty of inspiring interest while rafus- i
Ing 10 employ the themes of Illicit passion I,
or improper behavior is powerful aIgu- 1
meBt for the author who succeeds in such |
an effort The Greatest Thing in the |
World" Is not a second "Zaza"-no one /
could expect that it would be-but its com
posers deserve unlimited credit for having 1
completed arvehicle in which there is much 4
that is desirable and nothing that is not.
Mrs lie Moyne's presentation is likely I
to have run in New York. If only through l
the verify that it must appeal TO these 1
who are tired of hot-house growths that /
are but conventional growths al best. The !
Greatest Thing in the World" is wholly |
original from first curtain to last. Mater !
nal love, excellent foundation that it ap |
pears to be, has not been used recently, !
except in Japan. There. as in tine cid Eng /
lish classics. 1t is made to serve compare |
lively often. The piece in question, too is |
devoid of many characters and fashions I
that long have been deemed necessary TO !
popular appreciation. 1t deals chiefly with 4
entirely plausible indviduaIs-has neither 4
a hero nor a villain. And, withal max
ing constant demands on the attention, ii /
builds up 10 one of those climaxes that so
frequently save products Of less briliiance
and continuity than are in the first two
scenes OF THE Greatest Thing in the
World" Even these two scenes are so full
of charmingly artistic bits. effective
devices in the way of business and adj
nlirable drawing of persons that their
sketchiness may be forgiven-if it Is not
remedied.
The majority of the faults In Mrs. lie
Moynes play may be eliminated readily.
Several Of those noted on Monday were-
cue to bad stage direction. The ballroom
groupings were poor, and the finale OF the
initial act was rendered Intellectual by the
haste with which it was interpreted. The
second curtain should fall on some word OF
gesture more significant than is in Mira. |
lie Moyne's turning TO the armchair after
having dismissed her sutton. Mrs De
Mile and Miss Ford have not supplied a
sufficient quantity or an acceptable quality
of comedy relief" All OF these tribes.
however should be attended to long be-
Neither OF the authors is an Israel Fang
will. and the Liebler people have had q
recent lesson.
But why dwell on THE Greatest Thing
in the World2'
Dore Davidson. well known as the pro-
Queer of vivid meiodrsmas. is promising to
invade the theatrical world and. pushing
aside the numberless mediocre attractions
now accepted. TO give the public something
truly worthy OF its consideration. With I
this end in view he has engaged the ser
vices OF Julia Morrison. the eminent
who. while playing in MIR.
Plaster OF Paris shot and killed her stage !
Mr.. Davidson will star the ac- 4
lady in piece entitled "A Day
of Reckoning" OF the details of the
presentation the following is the irs-
pressario's own account:
Julia Morrison is an actress of exquisite genius
destined to stand forth in the ranks Of her pro-
fession as n distinguished figure by rirtur of her |