The St. Louis Republic. [volume] (St. Louis, Mo.) 1888-1919, 1902-03-02
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but am greatly interested in it. especially
as seen in Ibsen. A Dolls HOUSE is a par
ticuiar favorite of mine. But the stage Is
meant for ~baauty-not beauty in the sense
OF mere prettiness. but of strength and
ideaiism. l am not opposed to realism. but
1 dislike photography. Ibsen 1 consider the
greatest playmaker the world has known. II
he had dealt with beauty. But 1 would not
have him otherwise. for then he would not
be true to himself. His subject matter on
the whole, however. does not appeal very
strongly TO me-"
Last season in Detroit there was more
than passing interest in the coincidence
that Joseph Jefferson received. as an offer
ing from a collector enthusiast. the original
of 4 letter written by his grandfather-who
was also named Joseph Jeferson-in 1S3I.
1t related to an offer i'm fat:ering terms to
play an engagement in Philadelphia, AMI
the signature so strikingly resembled that
or our Mr.. Jefferson thas the latter himself
was at first-giving it a cursory look-un-
der the impression that the was
one of his own forgotten epfstles. The writ
er OF it died In 1872.
Otis Skinner says regarding his new play.
-Lazze': The idea Of putting upon the
stage the life of Eleazar Williams. the
supposed lost Dauphin OF France, long has
been one that l have cherished. He has
appealed to me as a strong dramatic char
acter. He is most remote. most mystic and
possesses splendid attributes for stage rep
resentation. Some years ago ] had thought
of this. but 1t was not until Mrs. Mary
Hartwell Catherwood's novel. Lazarre.'
was written that I realized the opportunity
was at hand. Mrs. Catherwood and myself
talked over the matter Of stage representa-
ton before the novel was published. Since
THAT time We have met and outlined a
scenario of the play. The character, with
his half-Bourbon. h~alf-Indian nature, is GER
tain. I think, 10 prove a picturesque one.
and one that will appeal strongly TO the
public. The play will have a complete pro-
duction. and will go into New York early
next season for an extended run"
jos. c. Smith. who plays the Harlequin
in "Humpty Dumpty' at the Imperial The
ever. 1t all came about as a result OF a
dream he enjoyed and afterward described.
Ii may be we'll TO note that Smith has been
assisting in the support of various book
makers throughout the country and has
not cashed one bet since last summer The
dream pictured to him a man mounted on
a beautiful horse. riding with all speei
down a lonely road. There were no figures
or discernible colors which indicated any
thing peculiar and all that portended a
thread of comparison with the names of
any horses he had ever read was the fact
that the man wore a hat SO large that
1t covered his head entirely. Smith reached
a poolroom that day and. scanning the en-
tries OF three or four tracks. could find
nothing to indicate a comparative feature
of his dream with the names Of any OF the
horses There was not even an added
starter by the name OF b Hat" 30 he
played another horse and as usual lost.
Just as he was about to leave the place
Edward Fables. the eontortionist. smilingly
approached him with a handful of bills.
Smith told him of his dream and how
he was unable TO find Il corresponding
feature of 1t coincident with the name of
any horse. Then Fables. became jubilant
and hurled many endearing epithets ut
Smith. why" said Fables. your dream
was all right. The only trouble with YOU
is that you did not understand it" How
is THAR asked Smith, Well. a horse
named Sombrero won the race said Fa-
bies. and I played him across the board"
Smith is now studying the latest manual
for translating Spanish into English.
Eaeonora Duse. the famous Italian actress.
is peculiarly nervous. When she is not at
rehearsafSor acting she spends her time in
perfect rat. She sees no one except old
friends. and only a few of these. She has
a lady companion. who arranges her Jour
neys and engages her rooms in the hotels.
This lady sees that Signora buses rooms
are at the back OF the hotel, and that. II
possible. they look out on a garden. She
cannot bear street sounds and. sights. The
furnishing of her rooms is important. There
must be no pictures or busts: nothing to
disturb her highly wrought esthetic sensi-
bilities. Everything must be scrupulousIy
clean; severe and quiet
One OF the most entertaining features of
THE Chaperons' is said to be the trio en-
titled THE Man Behind the. Scenes" In
this number the comedians describe the I'M
seen business" beyond the footlights,
which sometimes goes amiss and mars the
performance. This is the idea:
The audience that listens to the players on the
stage.
Little knows the many things that help to make
the play the rage
II you think it's all the actors. you're mistaken
more or less.
For It's often the unseen that makes or mars
the play's success
And the little things that happen In the place
where they belorE !
Imagine what would happen IL they happened to
go wrong.
Cuisines Illustrating stage mishaps.)
HORCS
It's the man behind the scenes
Who holds q place sublime.
Who hands you things from .nies. and wings
At just the proper time.
And though you never zee him.
And applapse he never CLEANS.
We couldn't do without. It's true.
The man behind the scenes"
THE Sultan of Sulu," a new musical sa-
tire by George AIDE and Alfred G. Waitlal,
will be produced Tuesday at the Studebaker
Tlleatcr. Chicago. Edward P. Temple viii
stage the opera. Ki-Ram, the Sultan of
the Southern Philippines, II a real character
whom Mr.Ade Artist McCufcheon and other