The Indianapolis journal. [volume] (Indianapolis [Ind.]) 1867-1904, 1901-11-26

than Joe WEIGH Her work was conspicu-
GUS for its merit when she made her first
visit 10 this city. and since then she has i'm
proved X. she sings and tells stories IN
negro and Irish vernacular. Her coon songs
are Melancholy Nose" and Fare You
Well" The first gives opportunity for her
to display her ''PaImah House glide"-a
typical, sloven, negro walk-but the Far
You Well song IS capable OF more interest
ing treatment. Miss Murray's singing OF
this song ~justides ragtime. IL tells OF a
girl whose lover was a gambler from his
heart She lowered herself TO ali kinds OF
drudgery for the man, and her only reward
was his taking every nickel she could save
and leaving her. saying only, Fare You
Well" After this the line What mo ca
a pOah gal dO?" is almost pathetic. Miss
Murray's stories are interesting ana are
exeellently told. Her manner is pleasing
and her keen perception OF what might De
termed the "ragtime negro character Is
delightful.
Mcintyre and Heath also are students of
the negro, and they are such favorites here
that the applause begins when the stage
boy puts the glass card in the proscenluIn
rack. They are showing a new sketch
called The Man from Montana, and they
have al able assistant in otto Johnson.
Mcintyre is Alexander DoOlittle. q meek
man dressed in white duck, and Heath Is
Butch Peabody, an aggressive Sduutly-
costumed gambler from Montana. lie stole
from DoOlittle his girl, Sue Ann Morgan,
and when Doolittle mildly resented 1t he
struck him with a tomato. ms occurs
off-stage, and when Doolittle comes into
Jenkins's lotto Johnson gambling room he
bears on his breast the stain Of the tomato.
He and Peabody have a fearful quarrel,
but there is no fight in either of them. The
talk is such that one can hear on Indiana
avenue any night, and ii Is all funny.
XXX
The rest Of the bill is full of cleverness.
w. C.. Fields is a tramp juggler, and until
last year he was a member Of variety COM
binations. though he was fitted to enter the
better class long ago. He has great skill
with the rubber balls and the hats, and he is
| a true comedian. He has a partner, a pref
ty woman, who hands him his material and
pretends TO be frightened. When he fails
at a trick he growls at her and she runs
out. The idea has proved so valuable that
Fields misses purposely sometimes-he is
so cool that ii seems he could accomplish
any sort of Juggling feat.
The Aglos Trio opens the show and loses
because of the late corners disturbing the
audience. The trio is a man, a woman and
a big boarhound. and their work is all new.
In the most difficult Of the tricks the man
holds on his head, by aid Of his teeth, a
chair in which the woman sits. She sup
ports a table. The man thus encountered
steps upon a ball and balances there. The
act is simply done; there is no yellow
ness" about it.
The Serenaders are four young women
that sing an unusually good class of music.
They have a handsome stage setting and
wear their costumes well. Their voices are
soft and carefully used in ensemble. Ma
comber and Engieton's sketch tells of the
trouble of an actor and his wife out of an
engagement. When the prospect seems
most dark an offer comes in a telegram.
The scene changes TO the picture of a RO-
man arena and a bit of "Virginius' Is
given. The acting is vigorous and pleases
the audience.
The Union Calling Guards close the en-
/ tertainment with a mock battle. The scene
is a camp in the Philippines in the early
morning. The regular morning drill with
the Calling gun occurs, and then a courier
arrives with a warning that the enemy APP
prOaches. Breastworks of sacks filled with
earth are thrown up on either side of the
gun and the battle RACES. The soldiers fall
one by one until all are wounded or dead.
IL is exciting enough and the elaborate
drill is interesting. The act goes like a
machine. 1t was put on by Rush Bronson,
the present manager OF the Grand, when
he was in charge of the Orpheum Com
pany's theater at Omaha.