The times. [volume] (Washington [D.C.]) 1897-1901, 1901-04-28

wonder that l stood it so long. There is
so much responsibility connected with
| operate productions because in Justice Il,
| one self they must be first-ciass IN the
works are not carefully and conscien-
| tiously rendered they come dangerously
| near t9. being farces. rather than the dig
| mined entertainment for which they are
intended SO l am more content to give
| rev numbers, and do them we'll than
10 nave the worry and responsibility OF
| relertoire which might, in spite of all
enorts, be indifferently sung. and conse-
quently unfayorably received
DE- 70. s. Kimball, the well-known vo-
car instructor, was a very busy person
| iast week, Tor In addition to his regular
| classes, he gave daily lessons to several of
| the principals of the Bostonians and the
Strakosch Company. DIR. Kimbal is so
| tavorably known to the members of the
| theatrical profession as a voice placer and
coach that many artists avail themselves
or the opportunity to place themselves
| uhder hlna during their visit to the Capt.
| tai. and take as many lessons as may be
crowded into their brief stay.
| Ihe number of the prominent singers
| who have received instruction at the
hands of DIR. KimbaIl is astonishingIy
large. The list includes Avery Strakosch.
the late Lizzie Macnichol. Estelle Went
worth. Adele Rafter, and Albert Parr. of
the Bostonians; Amelia Fields, Frank
1 Baxter, whose death several years ago
robbed the native stage of one of it's best
tenors; Miss Frances Miller. prominent
i M
| Wynne, of 1.-THE Runaway Girl Com
| pany; Homer Lind. formerly in grand OPP
| era, but at present making a tour of the
/ principal vaudeville houses; H. f. p Bal
mar, Robert Stuart Pigott. Marie Kunkel
Zimmerman. DIR. Thomas Stockham, who
| sang with the Choral Society at it's last
concert; Edwin Hoff. an operate tenor of
much more than ordinary ability; Viola
! Pratt Gillette, contralto of the Alice
| Nielsen Company; Minnie DeRue, Lillian
| Samuels, Josephine Bartlett. sister OF
Jessie Bartlett Davis. and a member of
| the Bostonians; Zelda Seguin. George
| Denham. William Stuart, the tenor of the
| Foxy CUTLER Company. and Louis Cas-
savant, the baritone of the same organi-
cation; Frank Pearson, and his wife,
MaUde MacIntyre: Nellie MacNulty,
George Armand William Mcdonald. late
of the Bostonians. and Chauncey Olcott,
who sings Irish songs so well that he has
made fortune for himself and manager.
IT is quite an imposing list OF dstin-
guished pupils; and, II is quite safe u say;
is not equaIsd by any other teacher of
singing in this country.
The Engiisl; newspapers are giving
great deal of space to an American vaude-
vile artistic who is evidently having
things very much her own way with the
Britishers. She is Bessie Bonehill. whom
local vaudeville patrons viii remember
having seen at the Academy of Music
during the Iiashm regime, and who cap
tiyated everybody by her pleasing act.
MISS BOnenlll is EnSliSn Dy DiTln, nut mas
become a resident of the United States,
and her adopted country is justly proud
of her success abroad
Romance Of many kinds has filed the
life of Mary Crittenden Scott. who Will
appear with her own company I'm the
sketch In washington's Time" at
Chase's next week. In private life she Is
Mrs. Neville Castle. of San Francisco,
where she was one of the leading bellies
of the Golden Gate City Two years ago
she astonIshed her friends and relatives
by abjuring a life of luxury for the toll
and turmoil of a theatrical career. to
which her husband reluctantly yielded
consent. She is niece of the late ex-
President Harrison, cousin of Admiral
Watson, and a sister-in-law of Admiral
SIMPSONS daughter, who was married
recently to her brother, lieutenant Scott
of the Marine Corps, now stationed here
She is an expert whip, devOtee of fenc-
ing and boating. and finished in all the
accomplishments of one of the smart set.
Mrs. Castle was content to begin at the
foot of the ladder. She was not at all
disappointed at not being at once tri-
umphantly escorted to Broadway and bill
ed in large type. She was prepared for
whatever hard knocks her career had in
store for her. Her first playing was done
with the frawley Company
"One wants the hide of a rninoceros and
the determination of bulldog to sue
coed on the stage" she said yesterday.
~ any manner of means nor do l expect
TO be able at once TO reach from a tri-
umphal car and pluck jacqueminots by
the wayside. This success is not to be
summoned by beck and call.
u prefer not to talk of my ancestors,
nor of the society which | abandoned To,
be sure there was in my training MT
ting of inestimable value. / have am
bition to reach the top through my art
alone | want no favor because of my
birth, nor do 1 expect it. think / shall
Iar.fTI f.f rflrr1
tunity for talent. There is plenty of
hard work. to be sure. but no reward
worthy the struggle comes without this
Miss Scott's gowns are said to be mar
vels and the colonial costumes of Wash
ingtons time should give her opportuni-
ty f,r display of fetching robes. The
scribed as dramatic in the extreme, and
gives full scope for the powers OF
this young woman. who is on the stage
for what she says is her love of her art.
she draws big salary.
afr Griffith. who will assist in the
sketch, I'm Washington's Time will be
remembered as the leading man with J.
T. Dodson in ''Richelieu's Stratasem.
which was presented here earlier this sea-
son.
In this months issue of the Actors
Society Monthly Magazine" Miss Mazda
Cragen has these remarks to make with
regard to the punishment fitting the crime
or rather the role fitting the actor:
when the aspirant for a stage career
is brought for the first time in contact
with the practical working forces of that
life. men and women who have estab-
lished positions the managers who direct
them. or even the agent who makes en-
for them, this neophyte, who
heretofore has played all his favorite
roles in the boundess realm of his imagi-
nation, where the mere structural compo-
sftion of his body was of no consequence,
there being no audience to view it. finds
himself brought suddenly down to earth
by other peoples limitation of eye and
ear, and he is obliged to cope with
the hard and cold fact that an audience
at large is incapable. from force of habit,
of seeing the ideal inSpirational self of an
actor before his bone and flesh apparition-
1T is probable that if the author or
drannatist dwelt sufficiently in that inner
realm of the mentality of his heroes or
heroines and pictured them as indy tdualS
and not as persons. the stage would be
freer to portray ideals of character. To a
great extent this is possible in many of
ShakeSpeare'S characters, particularly the
and imaginative types; but we
are accustomed in our wOrk-a-day world
to take things at their apparent value.
to view the people We meet from Il literal
standpoint of comparison with others.
What wonder is il. then. that the cos
mopolitan theatre audience, that body of
people never twice alike or with any one
ness of thought or purpose. should at
least demand that which they most near
= have in common. which Is the eXpecta-