The Washington times., 1901-08-11

in point of popularity. Some of the most
popular of the Witmark publications
which promise to become the leading sue
cesses OF the coming season are: the
Rainbow Coon, You Needn't Say the
Kisses Came From Me. I'm Looking for
an Angel. The Girl / Loved and Lost. In
Our Home, Sweet Home, At the Pan-l-
| Marry Can. Absence Makes the Heart
Grow Ponder, She's All My own; My
Sixteen Goodnight Beloved, The Tale OF
the Kangaroo from The Burgomaster;
Come Ny Sweet Queen. from Chauncey
Olcott's Garrett O'Magh;" Sadie Say
| You Won't Say Nay, and My Rose OF
Yesterday.
Joseph w. Stern & Co select as their
most promising song hit for the coming
season, Don't Wear Your Heart on Your
Sleeve" which is described as a story of
much heart interest. 1t is the product of
| the authors of The Lost Child, one OF
/ last seasons successful pathetic songs.
The Stern house believes the style of
| songs that will be quite generally heard
| in the vaudeville houses and in the sea
sons farce comedy productions are bal
Once Together, Kate and l.. "A Picture
| Without a Frame" While the Convent
Bells Were Ringing" and the better class
Ask, THE Everlasting Night" Il Heard
| the Voice of Angels, and The Song Oh
| Triumph
In the current number of the 'Cosmo-
poltan" Viola Allen discusses the MAX
ing of an Actress very entertainingly
! and gives some practical adviee9tO ambi-
| tious young people who believe they are
| destined to become great players.
| Miss Allen says that. to begin with.
| in an art where personality plays so i'm
portant a part, it is well nigh impossible
/ to form general rules to fit each varying
! individual. But let the girl who desires
| to go upon the stage be sure beyond a
doubt that nature has started her on the
! road; that she is equipped at the outset
4 with temperament, good health, a pleas
/ ing voice, quick and ready sympathy.
I plenty of courage and determination, and
at least fair share of personal attrac-
| tons Absolute beauty is not necessary,
| though few can deny that 1t is desirable.
! But there must always be about the ac-
/ tress who hopes for success n general air
! which pleases and satisfies the spectator
| Moreover, to these natural qualifications
! there should without doubt he added some
| advantages of education and accomplish
/ ments without which the struggle will
be an unequal one.
Then comes the question of special
! training for the stage. in which the prac-
! teal knowledge of proper use of the voice
! takes foremost place. This may be gain
| ed from the dramatic schools or instruc-
| tors, and sometimes through actual eX-
perience. The advantage of studying under
J competent directors is that pupil soon
| learns in what vein her talent lies, and
| should she prove unequal to any branch of
| the art it will save endless suffering and
| bitter disappointment if she be made
| aware of it at the beginning.
| Moreover, If she has a special aptness
I for a certain field of work, an experienced
| teacher may discover it almost by in
! stinct, while 1t might cost the pupil years
of failure and bitterness before she found
! her proper sphere"
Miss Allen declares that the temptation
! to initiate other actors and actresses will
! be found to be the great stumbling block
/ q
| have to fight against. The actress says
/ An around her the novice sees actresses
/ whose popularity, she fancies. is largely
/ due to certain qualities ana manneriSmS
/ apparently easy to analyZe. If she allows
| herself to adopt this that trick Of
! speech or gesture she not only is stamped
/ as an imitation. but stands in grave dan
! ger of entirely losing the power to be
| simple. natural, and sincere. OF course.
/ the methods of others can be profitably
| studied. just as the man of letters reads
| and benefits by the works of his prede-
! cessors, but il does not seem possible to
| indulge in conscious imitation of another
| actor NDr actress methods save at the
| expense of losing ones individuality. The
| ability to see truth, plus the power to ex-
| press it in such a manner as to convince
| and appeal strongly to the emotions of an
! audience-these are rare qualities, but
/ they are essential to the person who
| would win success on the stage. Without
| them it may be possible to entertain an
| audience pleasantly. but to become truly
! an artiste-neVer.
| The technique of acting may, of course,
| be acquired, just anyone with ten
| fingers and plenty OF patient application
may acquire the mechanics of piano-play-
| ing: but the result must be like the per-
| Torrance of a well-tuned automatic in
| strument as compared with that of the
| musician who puts his soul into his finger
| tips. Audiences are remarkably quick to
| detect the soul in an actress, and their
| failure to find it means in every case for
the actress loss of prestige. Good train
| ing and proper development Of her p9We
are, however, as valuable and nee
| essary to the actress as to the aspirant
in any other art or profession; but surely
the great sympathy. the quick imagina-
ton, the keen intuition. which transport
! the true actress cut of herself and make
| her for the time think, feel. and. one
might almost say, be the character as
| sumed, are not born in every enc
| The premature closing of THE Fortune
| Teller in London has left Frank L. Per
| ley with an idle opera company on his
hands, and the manager finds his time
and attention so occupied with the forth
coming production of The Chaperons'
| that those who crossed the big pond to
| help Alice Nielsen set the Thames on fire
will be compelled to sit and twirl their
thumbs until after the aforesaid produc-
| ton is made
| They will lose nothing, however for
| Mana ger Perley has declared that he Will
| take care Of The Fortune Teller people,
| although he cannot say just how at the
| present time. Some of the principals have
| been "farmed out to other managers, AS
| is the case with Joseph Cawthorue who
| goes with Klaw q Erlangcr for thCir pro-
| duction of THE Sleeping Beauty and the
| Beast" and Alexander Clarke, who will
| fill an engagement with Alfred a. Aarons
| at the Metropolitan Opera House. Eu-
| gene Cowles Is helping to fill the Masonic
| Temple The atrc Chicago. by being billed
as the 81 800 week bassp and so IL Is
| hardly probable that he will worry be
| cause Mr. Perley's new opera was not
ready when the Nielsen company return
| cd to America so unexpectedly.
| Had IL been known that the London sea
| son of The Fortune Teller would end
| when ii did. new opera would have
been completed by this time, and ready
| Tor production. but Harry b. Smith and
Victor Herbert, who were commissioned
| to do the work, now both busy with
| MIR. Perley in the production OF The
Chaperons and nothing can be done un-
til the latter piece has been launched. Mr..
| Pcrlcy states that his next theatrical or
sanitation Will be far superior to any
that has ever gone out under his name.
| and. with the exception OF the principal
members of the present company, 1t will
| he formed by new set of singers. among
| them prima donna who will be the
youngest comic opera pr4Ina dDhna on the
| stage. All this is intero sting. especially
nat part of Mr. Periey's statement rela-
| tive to the new star, which has served to
whet public curiosity, and ii is earnestly
hoped that she will prove all shat the
press agent guarantees.
An erroneous statement has been re-
Dcatedly made that when Leo Ditrich-
stems new play, The Last Appeal" is
produced ii will be under the direction of
Itch 81 Harris. On the contrary the