The Washington times., 1901-12-08

Hamlet" at Edinburgh Macreaiy. on
the other hand-there are many reasons
Tor believing-eneouraged opposition to
Forrest during the latter's appearance in
London. Then the battle ground was re-
moved to this country. During sEs opeu-
ing skirmishes the disputants had re-
course to the press.
Forrest was particularly violent, and
in one Statement to the public called
his distinguished colleague "a superannti-
ated driveler" Finally on the evening
Of Nay :. 1Si9 Macready began an en-
gagcment at the Astor Place Opera House.
The first riot was chiefly between the
walls OF the theatre. A description Of IL
says:
THE acto9 was greeted with ironIcai
cheering on his first entrance and bowed
his acknowledgements in ordsr to bring to
pause what he imagined to be too
long continued welcome
The disorder became continuous and
grew into howls and epithets Placards
were exhibited inscribed with the charges
against him. You have been proved a
liar and like statements found express
sion in one way or another.
"Nacready paced the breadth OF the
stage and sought 10 FIX with his eve each
man in the pit who was hurting rage at
him. pointing them out with his irun-
quite a peck of potatoes. a bottle OF asa
fetida. and the chairs were thrown on
the stage
The police were powerless to control
the mob. and finally the Seventh Regi-
meut, with a troop of horse, was called
out Stones and missiles we're thrown
and heads broken. At last the soldiers
were so tlercely pressed that a voliey Of
blank cartridges was fred over the frads
Of the mob. This only served to enrase it.
Northall gives an incident which shows
the temper OF the rioters.
He says: "As the peril grew the officers
OF the regiment consulted and afte- a
sreat deal OF hesitation decided to fire
with ball cartridge. The order was given;
then one musket was discharged then
another: then a yolley was poured into
the mob. When the smoke had raised
thirty OF the rioters were found to have
fallen and the mob quickly dispersed"
This catastrophe resulted in a reaction
against violence and thuggery in the thea
tire, which has since been free from it.
The last news the public had of Walter
Jones last season was that he was due to
become a star this theatrical year. But
it appears that the former tramp comedi-
an has laid away his aspirations for
stellar distinction. for a while, at least.
and is content with a prominent place
in the ranks of Frank Perley's organiza-
tion presenting The Chaperons.
Jones at one period of his career gave
evidence OF being one of the very best
OF the younger generation Of snnmakers.
This vas when he made his appearance in
1892" In which his tramp act assisted
very materially toward making the
Barnet musical piece the success it was.
JUIes was practically the first of the
tramp comedians. and it was not many
days after his emphatic hit at the Casino
that the woods were full of stage hobos,
and they quickly became a drug on the
theatrical market.
For a number Of years Jones was con-
tent to continue In his ragged makeup.
But finally he branched out in other fields,
and In "The Chaperons" now plays the
part of an Irish wanderer, former con-
tractor on New York's subway
What are you doing in Paris?" asks
Digby Bell in Mr.. Perley's play
Il came over here to study rapid tran
SIT" answers Jones. Il heard it was the
fastest city in the world
what we're you doing before you came
here2"
Il was a contractor on the subway in
New York"
What part OF the job dill you have?"
From the Battery to the Dewey arch,
but somebody moved the arch"
How did you come to leave New
York;
ASK the man that touched of that last
blast; l don't know"
These are a few SAMPLES of the lines
that are allotted to Jones in THE Chap
erons." and while they are absolutely
funereaI in cold type. the comedian gives
them with n brogue that Is as rich as any
thing ever heard at Castle Garden and
manages to make them sound very funny.
The part was written with Jones abili-
ties in mind. and the librettist seems
10 have measured him very accurately. for
he is one OF the great big hits OF The
Chaperons."
Maude NGgent. one of the stars at the
Bjou Theatre last week. is a distinctly
unique type of musician. Miss Nugent
is responsible for Sweet Rosie O'Grady."
Mamie Riley and any number OF other
equally popular songs. and yet she does
not know one note fron another. Her
knowledge of the piano is confined to
few chords. which she managed to work
out, and, strangely enough, in doing so she
selected key that even to educated mu-
sicIans is one of the most difficult. A
Times interviewer met Miss Nugeut one
day last week and obtained some interest
ing information relative TO the young wo-
mans peculiar methods Of composition
Il have 70 learn my own songs, sle
said. Just the same as anybody else. and
lfter becoming thoroughly familiar with
hem | sing them note by note TO some
1ne who takes them down on paper. an
odd form of dictation, isn't it? | always
<now Just what chords I want in. and the
accompaniment. and the different changes.
and so I must sing them. too. Sometimes
1 melody will run in my mind, and then |
III lose it. and maybe after week or 50 |
i will come back, and then / hurry up |
and get 1t.
IL usually write one song a season
sometimes two. You cannot lima gine how
| regret not having had the benefit Of a
musical education. But like a great
many others. unfortunately. | was lucky
o get an ordinary schooling. and let the |
'urhelows so.
81 do not always sing my own songs. 1 |
I'M using one Of them now. My sv'et |
{imona,' and Peter F. Daley Is s'5o !
.inging one. My Little China Maid !
ry to get the songs that the public wants |
md am not foolish enough to think that
hey're all mine. We get great many |
equests. you know. and 1 make it a
,oint to satisfy them if possible.
Next summer | shall 90 to England.
We sung there very often. and it's really |
cry much like America There are so |
many Americans there, and the English
re becoming educated up to our ways. In
act. the public generally is being tuned
p--or some might say. down-to vaude