New-York tribune., 1901-03-31

Martha" The Mikado" and Carmen The
audience will be composed of invited guests and
relatives and friends of the students. The gradu-
ates who will take part are Iyer Anderson; Emery
ngen G1e Jennie s1 GT0Ss se Hoe Paus
Johnson. f. E Johnson. Lillian Kayser, De Witt
Mott. Ruth PEBBLES, Adele Rafter, Marie Strakosch
and W. II. Wheatley-
The programme for the benefit TO be given 70
Nine. Janauschek by the women Of the American
stage on Friday. April 12. at walacks Theatre,
will include Miss Julia Marlowe and her company.
in the first act OF When Knighthood Was in
Flower; Miss Blanche Bates and Campbell Col
Ian, in The Queens Messenger; Miss Lillian
Russell and De Wolf Hopper in a duet from "Fid-
dle-dee-Dee"; James T Powers. in original
monologue; Miss Amelia Bingham, William Coll
Ter. In the second act Of "On the Quiet: Joseph
Weber. Lew Fields and David wsrheId; J. II.
stoddart and Miss Maude Harrison. I'm "Ons Touch
Of Nature; J. E. Dodsen, Miss Annie Irish and
Robert Edeson, in 'Richelieu's Stratagem''; Annie
and Jennie Yeamans In a character sketch. and
Miss Viola Allen and her company, including z j.
NbTr Morgan A p L Davenport, Edward Emery, Myron
and Others. in the third act Of The. Christian
The sale OF seats and boxes begins at the box office
of Wallacks Theatre tomorrow morning.
A dramatic version of QUO vadis' has been pro-
duced at the Theatre de la Porte Saint Martin. in
Paris. An account of the play received here says:
There need be no hesitation in predicting that
the success Of the play can never approach the
popularity of the novel Henryk Sienkiewtcz,
shortly after the publication Of QUO Nadis'' in
Paris. called upon Vtctorien Sardou and asked him
drdmltize it, NJ. Sardou. after carefully read
and complicated for him undertake. and that.
owing TO the grand spectacular scenes. such the
burning of Rome, the massacre of the Christian
martyrs ana the Roman orgies. there was not a
stage in Paris large enough 10 give the gigantic
dimensions Of the play full scope Moreover
added the author of "Patrie,' the action is 10
my mind too complex for drama, but would form
the groundwork for a truly superb opera lt IS
indeed said that Verdi shortly before his death had
been reading QUO Nadis with a view to its COM
composer will be tempted transform QUO
NadiS' into opera remains to be seen. but the
result of last nights performance at the Porte
Saint Martin Theatre Indicates that as far the
dramatzation OF QUO Nadis'' is concerned NJ
Sardou's opinion Is correct. Emile MOreau. the au
thor of the drama drawn from Quo Nadis' has for
many years been collaboration with NJ. Sardou.
notably so in Mime. Sans-Gene'' and Cleopatra"
NJ Moreau is familiar with NJ. SardOu's methods,
which are apparent in the manner OF treating Quo
OF the story so that remains integibie to those
who have not read the novel, and he has also re-
taIned a number Of episodes that would have been
missed I'm the drama by those who had read the
hook He has adroitly connected the situations so
as TO form a whole that almost attains logical
sequence and he has been discreet to
add anything of his Own beyond what Is tndis-
nensabIe to toin together the various parts. All
this has been accomplished with skill and sound
theatrical workmanship. but what will prevent
"OuO Vads'' from being a dramatic success is pre-
ctseIy that il is a mosaic. wherein the author, ow
ing 10 exaggerated conscientious scrupleS. has
tained all the episodes and anecdotes. which pre-
vented him from developing and bringing into
dominating situations the scenes of sentiment. love
and human passion