New-York tribune., 1901-11-24
OVER TIE TEACUPS
A COMEDIETTA OF REALISM.
THE CAST.

o curtain characters discovered AT
breakfast John waiting the table
Guest-The fact is like many other popular
fallaces actors don't talk shop necessarily.
Actcr-Incessantly is really very broad range
OF time, isn't it?
Actress-Dut suppose they do. I don't that
IL invites criticism After all. it indicates in
creasing interest in their art, very eommendable
Guest-Presupposing that they have an art.
Actor-For your sign painter may WELD a
brush prettily, but that doesn't make him eligible
for the Academy.
Actress-Ahem. Quite Do have some fruit I
Guest-Thank you An apple, please.
Actor-0h try these grapes. They're delicious. /
GUEST believe 1 prefer the apple, if you /
don't mind.
Actress-Then here's a beauty-a perfect ap- !
pie, isn't it?
Actor-So it is And I'll wager it passed /
solitary existence. In the orchard thick with
fruit L grew alone on the limb, undisturbed by .
other fruit Like your artist With the /
crowd, but not of it.
Actress-But how can there be without |
knowledge?
Guest-Yes. And if my memory serves me-
with the knowledge of the first apple began the
first artjfice.
Actress-The points we'll taken. But what
mean is that the actor who is only introspective
Is actor at all He must know the world, its
people and their joys and sorrows.
Actor-That is obvious. But what mean is /
that greatness does not come to those who feel
that they themselves must be part and parcel
of every passing fancy OF the hour
Guest-Um Yes-I think-I understand
Actress-Do you? That's encouraging But .
really believe were beginning 10 talk shop .
Actor-And the breakfast table, too, Oh
fe.
Actress-Just a little more sugar on your oat-
meal? Ne? John bring the tea dtxit john .
Speaking of tea
Ciuest-But We weren't speaking Of tea And
the fact is this matter of solitude and art is /
very
Actress-Interesting I dare say G1nter John
with caddy. etc. which he places before the
actress) VIII you have cream in yours?
Guest-Just a little hot water. if you please.
Actor-There you have 1.-THE essence, as ii |
were. Of great acting. Pour out those little
grains from the caddy. What have you?
Actress-A conuudrum Tea ] guessed the
first time
Ac.or-Tea-ves A tasteless mass. Add the
hot zzater. An inspiration It's the bad part
ritaIized by the genius of the player The
dramatic fervor, the
Actress GnterruptingD- Please pass this tea
Careful; don't spill it.
Guest Gas he takes the cup)-1oure very /
good Now see how he handles that cup |
CActor starts to drink from his own cup which ]
isn't il? One feels that he really is drinking tea
Now on the stage-present company excepted
of course-why is it that the actor can't be
natural?
Actress-That suggests ore Of our theories
doesn't it dear? He holds that too often they
natural
Ciuest-oh, no: not really? Or is it his char
ity?
Actor with ernpfasisb-To be natural on the
stage is TO be unnatural
C;Isest-A paradox Explain
Actor-Just So CTo john Another egg for
the gentleman. We see il again and again Wheh
yo1,ng people from social life go on the stage
They ought to appear natural in j drawing room
scene for instance, oughtn't they? But they
don't They fail to allow for perspective on the
stage The tone of Voice-an exaTnple-natuTal
TO the parlor would be lost in the theatre iheie
are a thousand things even more important
Charles Mathews pioneer IN naturalSih-
Pardon the dgression-I played with hlm IN MS
farewell engagement at the Theatre Royal, Dup-
lin. Then the dashing, brilliant Mathews
no longer had the following as Of old no"
pathetic it wast This who had been a
typical bon vivant-wned and dined ana
courfed, After the play in Dublin it was totter
back 10 his hotel. hurry to his room, sheodlhg
toll info