New-York tribune., 1901-09-29

German princelng who was not even, strictly
speaking, royal parsonage by birth. that the
Queen. deeply affronted determined to lose no
occasion OF demonstrating the superiority of
her husbands rank to theirs. This she did by
compelling those who frequented her court,
who were connected Herewith to observe a
Difference to herself and to the Prince that was
almost menial in its character. and which. no
other English sovereign had ever dared to ex-
act
King Edward Is a most inveterate theatre
goer. and during his forty years of social reign
Prince of Wales has been a familiar figure
at every London and Partisan theatre. the stage
finding in him of its most appreciative
patrons. He would invariably pay his way.
strongly objected to have any fuss made about
his coming, and was best pleased when actors
ana audience appeared to ignore his presence.
But circumstances alter cases. He has already
given ample evidence of his recognition of the
fact that there plenty of things which he
could do as heir apparent which no longer
fitting for a king. While he may regret the
days when he was able to witness theatrical
performances with relative privacy, there is
little doubt that he will insist upon the observ-
ance of all the ceremonal which his mother
wont to enforce in this connection.
King Edward may likewise be relied upon
~ continue tHc CeilSoiSiIlp vi tne stage WHICH
he has virtually exercised during the last two
score years of his mothers reign Theoretically
1t is the Lord Chamberlain who is the censor of
the drama. But IL has been the KING who,
Prince of Wales. has been the real controller.
determining all questions of propriety and taste,
and making as well as marring both plays and
their performers. He would even carry his
censorship to the length of insisting upon modi-
f1cations in the dress of people the stage.
and while many a passage in a play has been
eliminated at his demand. there not few
actors we'll actresses who have been forced
to alter their attire in order TO conform to his
views of what was right and proper
The Kaiser. his nephew. although supposed to
prefer man9uvres on the drill ground to those
behind the footights. is even more pronounced
than the King in his fondness for everything
that pertains to the theatre. He too. acts
censor of the drama in his dominions, and
rarely visits a theatre without summonng
actors and actresses to the imperial box be-
tween the acts for the purpose of cOmmunicat-
ing to them his criticisms of the performance
and his instructions to how they should act
their parts. The manager likewise may rely
upon receiving some hints about modifying this
that feature of the staging of the piece, and
likely not the Emperor Will return day
two later to the same theatre for the pur-
pose of finding out whether his instructions
have been obeyed. Often he attends rehearsals,
and. reegatins the manager to the background,
will himself assume charge of the stage drilling
the performers If they were so many soldiers,
showing them by example how they should
walk. how they should posture, and the manner
in which they should declaim. He has written
and cO-operated in the writing OF several
dramas mostly Of an historical character,
hav heen Dr0dnCpd al another of
the court theatres He has likewise composed
music for the orchestra. and while he has not
yet gone to the length OF leading the band at
any public dramatic entertainment, he has often
welded the baton for the orchestra at re-
hearsals.
1t may be said that this pronounced taste for
the drama runs In the Hohenzollern family.
for his uncle. old Prince George of Prussia now
the senior member OF his house is one of the
most skilful and successful playwrights in Ger
many writing under the pseudonyme of George
Conrad" with equal grace and facility in
French and German Indeed. one of the most
dainty and witty pieces produced during the
last thirty years at the Coincide Francaise. In
Paris, was from the pen of this gifted prince,
neither audience performer having the
slightest idea that the exquisite and classicaly
graceful French OF the piece came from the pen
OF prince OF Prussia. The Kaiser rarely spends
evening at the theatre without developing
healthy appetite and with a view OF satisfying
this he has caused a "fourgon," or van to be
fitted up with sort OF portable kitchen, and
IL follows him 20 he theatre with staff OF
cooks and servants, that he is able TO par
take of elaborate meal between the acts.
The Opera at Berlin. like many Of the royal
and court theatres in the various capitals of
Europe. is provided with subterranean pas
sages for the purpose OF enabling royalty in
moments OF danger to escape unseen. The |
tunnel from the Royal Opera House at Berlin |
leads to the arsenal where there is always a
strong military detachment duty. All the |
State theatres at Paris similarly equipped |
in monarchcal times. and more than once have |
they proved OF value when the populace was |
for the blood of its ruler
There is record of any monarch actually |
treadng the boards actor after ascending |
the throne, although Prince Florestan of Mo- |
naco, grandfather OF the present ruler of the |
rouge ct noir principality. professional |
actor at the Ambigu Theatre at Paris until |
the death of distant cousin brought him to the |
throne. The Grand Duke Constantine, how |
ever. not content with transating Shakespeare |
into Russian, has likewise figured in the part of |
Hamlet with great success at performances of |
play in his own palace. and also |