Evening star., 1901-12-10
AMUsEMENTs.IAf

very good, but she was as good as she
could be under the circumstances, and his
tory and literature and the drama have
dealt with her in spirit of tender and af-
fectionate remembrance. The play which
Miss Crosman produced at Chase's last
night was a long time in getting to WASH
ington. Reports of it's artistic graces were
poured into this city from convincing
sources and these were supplemented by
the ne ws of crowded audiences; audiences
that forgot the fatigue of standing up for
two or three hours and who sometimes
forced the orchestra under the stage for
the sake of sharing to some slight and re-
mote degree King Charles acquaintance
with the orange girl whose wit and beauty
made her famous and whose strict adher-
ence to her own rude but rigid code or
morals claims a certain respect. The story
of the authors and actress success is an
old one now; yet it is one of those old
stories which it is delight to repeat. 1t
is the tale of the oft-rejected manuscript
which at last demonstrates it's superior
worth, and of the player, whose timid ven
ture under bleak and inauspicious condi-
tions awaken thunders of applause and in
a single night makes fortune as well as
fame secure. Miss Crosman needs no SYM
pathy because her affairs have to be con-
Quoted independently of the ordinary rou-
tine of theatric business. She is a syndi-
cate unto herself Dignity, pathos, but
above ali merriment. are within her single
mood the audience may desire.
The play affords abundant scope for her
charms. She is the commanding figure,
and yet the company is not unduly subor-
dinated. Each and every phase of her i'm
perSonation is a delight; Mistress Nell in
histrionic costume. Mistress Nell in ordi-
nary petticoats, Mistress Nell in trousers,
Mistress Nell in love, Mistress Nell in
Jealousy, Mistress Neil in anger-all are so
Immediately satisfying that the auditor
fears a transition. But there is no disap-
pointment. The repartee which Mr.. Halle
ton has devised, is genuine in its quality
and crisply felicitous in phrase. 1t falls in
with the Crosman temperament to deli
cate nicely and comes ripping forth with
f1uency that makes it sound like the in
spiration Of the moment. If there is any
preference to be given to any of these Mis-
tress Nells who vie with one another in
constant and variant charm, 1t might be
awarded to the Irish cavalier, who steps
boldly into the duchess party and while
transacting a little important state business
for the king incidentally works a little femi-
nine retribution in her personal behalf.
There was many an auditor who was pre-
pared to lay his hand upon his heart and
vow he had never heard the brogue till
then. 1t as different from the ordi-
nary Irish dialect as music is different
from noise. 1t is the brogue that uncon-
sciously suggests itself when one lilts the
love song Of Tom Moore. Ordinarily the
woman who is masquerading as gallant
is a transparent fraud. But the court Ia
dies who elbowed one another in the effort
to cast their hearts at this sham Lothario's
feet-faith, you couldn't blame them!
The little humorous episodes so dex-
trously broidered into the main theme Of
the story are effectively displayed through
the medium of a cast that averages high in
competence. There is also precision OF
movement which reflects the highest credit
upon the stage management of Godfrey
Stein, who at present contents himself with
a small, though ably performed character
part
One of the best characters of the piece
is the king, played by Henry Woodruff.
Mr.. Woodruff has hitherto acquitted him
self admirably in roles Of light and juven-
lie quality. AS the king, he shows marked
ability in serious dramatic lines, combn-
ing with the gayety which the character de-
mands the touch of dignity, which pre-
vents comedy from sinking into farce. VIII
liam Herbert's impersOnation of Strings;
the old musician. was an admirable bit.
Mistress Nell comes as refreshing as
Surance that comedy may be almost
classic in it's construction, and of true liter
ary worth, and at the same time thorough
ly acceptable to the popular taste.
COLUMBIA THEATER.-""rhe Chaper-
ons," which opened a weeks engagement
at the Columbia Theater last night accord
ing to all the rules and measurements,
ought to be one of the most entertaining OF
musical creations. Frank L. Perley has
made his record as a manager and pro-
prise inspired confidence The association
of George w. Lederer with the production
was another element of strength in the pre-
liminary announcements, and the cast OF
characters reminds one of the old days
when the manager who had sought to or
ganZe monopoly of talent blaZOned the
bill-boards with the legend "40-count 'em
10" The Washington public showed it's
appreciation of past favors by sending
liberal representation to the opening per-
formance of the engagement.
1t is the era of specialization One man.
ager puts his money chiefly into costumes
and scenery; another secures a play whose
known merits make it expensive; another
places his chief dependence on blythe and
well-drilled chorus. Mr.. Perley has made
the aggregation of principals the object of
his especial Solicitude 1t is an array OF
names to dazzle and make glad the con-
sciousness that yearns for old acquaint-
ances in different guise. For nearly all the
prominent people set out in lines other than
those in which theater goers know them
best. Digby Bell has discarded the accou-
terments of comic opera and has donned a
silk hat and frock coat to play the part
of Adam Hogg," a Chicago millionaire.
The fun the librettist has with the name of
this character shows great research and
perseverance. Walter Jones is no more the
frolicsome hobo, but one of the Irishmen
such as have become familiar types in
musical comedy and never existed any
where else. Louise Cunning no longer sings
simple, old-fashioned ballads, but MARBLES
an aria, which is melodious, though not
written with due regard for the reasona-
BILE limitations of a singer in this style OF
entertainment. Marie Cahill was her own
unique self and yet there seemed something
lacking because a table and two chairs
were not brought forward as a prelude to
the burlesque of some well-known play.
Joseph c. Miron, with baggy oriental trous-
ers, is quite the comedian of the old school,
and his singing was one Of the enjoyable
features of the performance. Templar SAKE
has allotted to him the song which stands
out before all the others as the popular
gem of the collection. 1t is a college song
and has the genuine ring of good-fellowship
in it. A male chorus renders it most effect
lively. Perhaps it Is unreasonable to expect
more than one irresistibly catchy melody In
a modern musical comedy. Yet 1.-The Chap
erons'' would be blest if it had a few more
like this simple campus refrain. Ed Red
way is the man with the weird German dia-
lect, which is a recognized necessity in mu-
steal comedy.
Eva Tanguay is revelation. She is
human Kaleidoscope, a thing of shifting
form and color: one moment chubby rag
amuffin and the next an airy creature Who
as she stands daintily on tip-toe looks as il
she might have stepped out of a picture
book. She is pervasive, dominant and al
ways unexpected. In one scene she IS