The times., 1901-04-28

wonder that I stood it so long. There Is
SO much responsibility connected with
operate productions because in Justice to
one self they must be first-class. If the
| works are not carefully and conscien-
uousiy rendered they come dangerously
| near t9. being farces. rather than the dig
| nihed entertainment for which they are
| intended SO i am more content TO give
| = a lew numbers, and do them weil. than
| 10 nave the worry and responsibility Of
| reteFtolre, which might, in spite OF all
efforts, be indiHerentIy sung, and conse-
quehtiy untayorably received"
Dr. e. S. Kimban. the weII-known vo-
| cai instructor was a very busy person
nis1k. adse week. Tor In addition to his regular
| classes, he gave daily lessons to several OF
the principals of the Bostonians and the
| Strakosch Company. DR. Kimball IS go
| iaVOrabiy known TO the members of the
| Iheatricai profession as a voice placer and
| coach that many artists avail themselves
| OF the opportunity to place themselves
under MIN during their visit 20 the Capt.
| tai. ana 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 DR.. kimball is astonlshingly
| large. The list includes Avery Strakosch,
| the late Lizzie MacnichOl Estelle Went
| worth, Adele Rafter. and Albert PaTr. OF
/ the BoStonians; Amelia Fields. Frank
| Baxter, whose death several years ago
| robbed the native stage of one of its best
| ten0Ts; Miss Frances Miller, a prominent
4
| Wynne, of The Runaway Girl Com
| pany; Homer Lind. formerly in grand op-
| era, but at present making a tour Of the
Principal vaudeville houses. n. r. f.. Bal
mar, Robert Stuart Pigott. Marie KunkeI
zimmerman, DR.. Thomas StOckham who
sang with the Choral Society at its 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. a sister OF
II q 81
the BOstonians: Zelda Seguin. George
Denham, William Stuart the tenor of the
Foxy Quiller' Company, and Louis Cas-
savant, the baritone of the same organi-
zatiOn, Frank Pearson, and his wife.
MaGde Maclntyre; 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.
u is quite an imposing list Of distin-
Suished pupils. and, il is quite safe TO say,
is not equa1sd by any other teacher OF
singing in this country.
The English 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 BonehiH. whom
local vaudeville patrons VIII remember
having seen at the Academy OF Music
during the Hashim regime, and who cap
tivated every body by her pleasing act.
Miss Bonehill is English by birth, but has
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 VIII
appear with her own company in the
sketch In Washingtons Time at
Chases 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 astonshed her friends and relatives
and turmoil of a theatrical career to
which her husband reluctantly yielded
consent She is a niece of the late ex-
President Harrison. cousin or Admiral
Watson, and 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 10 Broadway and bill
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 a bulldog to sue
ceed on the stage" she said yesterday
My path has not been streWn with roses
py any manner OF means, UOE 90 expect
TO be able at once TO reach from tri-
umphal car and pluck jacqueminOts by
the WaySide. This success is not to be
by beck and call
j prefer not TO talk Of my ancestors,
nor of the society which / abandoned To
be sure there was in my training d fit
ting OF inestimable value. have am
bitiOn to reach the top through my art
alone. / want no favor because Of my
birth nor do / expect il. ! think ! shall
like vaudeville There is immense ODpOr-
F1r toll
hard work, TO be sure. but no reward
worthy the struggle comes without this
Miss Scott's gowns are said 20 be mar
velS. and the colonial costumes OF NdSn-
ington's time should give her Opportuni-
" fs~ a display OF fetching robes The
sketch in which she viii be seen is de
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.
Incidentally her press agent AYERS that
she draws a big salary.
AR Griffith who viii assist in the
sketch. In WashingtOn's Time, viii be
as the leading man with j.
=. Dodson in 'Richelieu's StratageIn.
which was presented here earlier this sea-
son.
In this months issue of the Actors
Society Monthly Magazine. Miss Mazda
~ragen has these remarks to make with
regard to the punishment fitting the crime
or rather the role fitting the actor:
When the aspirant for stage career
is brought for the first time in contact
with the practical working forces of that
life men and women who have estab-
ished positions the managers who direct
hem or even the agent who makes en-
"a gements for them, this neophyte, who
heretofore has played all his favOrlte
roles in the bOundleSS realm OF his imagi-
nation, where the mere structural COmp0-
sitiOn of his body was of no consequence,
here being no audience to view it. finds
himself brought suddenly down TO earth
Dy other peoples limitation Of eye and
-ar, and he is obliged to cope with
he hard and cold fact that an audience
II large is Incapable, from force of habit,
IF seeing the ideal iuSpiratiOnai SELF OF an
lctor before his bone and flesh apparirion.
1T is probable that if the author or
iramatist dwclt sufficiently in that inner
realm of the mentality of MS heroes or
leroines and pictured them as individuals
md not as persons. the stage would be
reer to portray ideals of character To
great extent this is possible in many OF
;ha akeSpeare'S S characters particularly the
'omantic and imaginative types, but we
IRE accustomed in our wOTk-a-day world
"a take things at their apparent value.
o view the people We meet from Il literal
taHdpOint OF comparison with others
What wonder is 1t, then, that the COS
nOpOlitan theatre audience, that body of
,eOple never twice alike or with any one
less Of thought or purpose. should at
east demand that which they most near
= have in common. which is the eXpecta-
ion that the performance VIII provide
hem with whatever they came 10 get2