Evening star. [volume] (Washington, D.C.) 1854-1972, 1901-04-06
MUSIC

q number of years ago at the Lafayette
Square Theater; how its author, Paul
Hester, struggled in vain to impress man
ayers with its merits, and how, after rec
ognition in London, it has pretty nearly
established a dramatic school of its own
are all matters of familiar history.
1t is quite probable that Nell Gwynn''
is the last semi-ingenue role that Miss
Rehan will play. Miss Rehan's art has
ripened into rich and splendid maturity,
but through one of those ironies in which
nature takes delight, Miss Rehan has ma
tured with it. 1t is scarcely a question of
whether she could continue as Dion Bou-
cicault did, to play youthful roles up to
the end of her career. There Is no doubt
that her audiences would welcome her and
forgive any shortcomings in whatever roles
she might essay. But so long as dramatic
art affords so wide a selection from the
coy and skittish soubrette role to the iron
jawed Lady Macbeth-although some COM
Inentators insist that Mrs. Macbeth was
sweet clinging creature, who merely
wanted to see her husband get on-so long
as there is such a wealth of types from
which to choose. it would be folly for Miss
Rehan to adopt any which would not fail
to show her fine resources off to the best
advantage. A revival of the classics for
Miss Rehan is now in contemplation. One
Of her most successful characters has been
Katherine" in Tanning of the Shrew.''
THE Sign of the Gross" Is one of the
good old-timers that sometimes take Iiber-
ties with their audiences. The play de-
ponds much on the faithfulness with which
IT delineates the splendors of antiquity
The production labored under some disad-
vantage in the fact that the scenery and
costumes are not old enough to be antique
nor new enough to be splendid
Time was when the appearance of legftt-
mate actress in the part of Rosalind was
tn eSignal of general and jocose interest in
her costume. Instead of depending on a
single actress in masculine attire, Pinero
made room for three of them in his Anna
IONS. and 1t need only be remarked that
the requirements were ably filled. Charles
Wyngate had one of his best opportunities
as the rheumatic lordling, who speaking
for himself and his ancestors always said
we" He gave an excellent low-comedy
performance. Ezra Kendall was the chief
vaudeville feature. 1t Is surprising to note
that some parts of Mr.. Kendalrs mono
logue needed deodorizng. The Texas
Steer" amused the casual theater-goer at
the Academy and awakened a certain sent1-
ment of regret in the mind of the more per-
duced it is laid aside forever. 1t is a mat
ter of interest to many who were wont to
comment rather severely on the ephemeral
quality of Hoyt's work to find how long
his plays seem likely to survive him.
Contracts for the season of musical COM
edy at the Columbia Theater have not Yet
been actually signed. but the plan as orig
inally projected is regarded as a factor TO
Dan Daily In THE Founders is talked
OF as a probability for the opening week
early in May if the musical comedy deal
William Morris, will be in the city next
week and it is not far guess that his
eIrand Will be the establishment of a
stock company similar to that with which
he was SO successfully identified last year.
Easter week will have two strong attrac-
tons. with whose merits Washington is IA
miiar-'. Arizona and When We Were
Twenty-one.''
Immediately following the reports of
Olga Nethersole' serious affliction and
Maurice Barrymore's sad fate comes the
announcement that W. II. Crane may be
lost to the audiences who have so sincerely
enjoyed his characteriZations. An incp-
lent cancerous growth on the tongue
aused. 1T IS believed, by constant smoking,
compels him to face the ordeal of the sur
geon's knife. He has been under treat
ment for some time. in the hope of finish
ing his season, but it is now realized that
there must be immediate recourse to sur
gerry.
Richard D'Oyly Carte, who died April 3.
was born fifty-six years ago In Greek
street, Soho. London. His father Richard
Carte. was a well-known flute player and
afterward became a member of successful
firm of musical instrument makers His
grandfather. Richard Carte, was a quarter
master in the Blues at Waterloo Mr..
Cartes mother was the daughter of a
clergyman attached to the Chapel Royal
The young man was educated at the Uni
versity College School and London Uni
versity. He then began to write songs and
minor operettas, and founded a concert
agency of some Importance. He arranged
the farewell tour of the celebrated tenor.
Mario In the course of this tour he &C
complished the then difficult feat of trans
porting the singer and his piano from
Swansea to Aberystwith in the middle of
the night Carlotta Patti and Camille ST.
vori. the violinlst, were also under his
management.
In 1870 ne began his career as nroduner
OF operettas. and In short time succeeded
In enecting the partnership of Gilbert and
Sullivan. the most successful combination
of operetta writer's ever known. 1t was in
1877 that their work THE Sorcerer'' was
produced under his direction and thence
forward the two writers and the manager
worked together till the librettist ceased
his labors in connection with the combina-
ton Mr. Carte produced III. NJ s. Pima
fore. THE Pirates of Penzance" pa
thence" "Iolanthe." Princess Ida" 1.-THE
Mikado. THE Yeoman of the Guard "
"RUddigore." THE Gondoliers" ana
Utopia The pecuniary success Of most
OF these works in England was very large
Mr. Carte paying the authors 100000 in
royalties for Great Britain for the use of
The Pirates
The Savoy Theater and the adjoining Sa-
yoy Hotel were built and financed by Mr.
carte. and in 1889 he built the new Opera
House on the Thames embankmeut In
this country he was well known as a pro-
Queer OF the works of Gilbert and Sullivan
In the fall Of 1ST0 he produced 'aThe Pi
rates Of Penzance" at the Fifth Avenue
sIhaafar nd afr