Evening star. [volume] (Washington, D.C.) 1854-1972, 1902-11-01

NV. =
The absence of any fixed rule for deter
mining what will give satisfactory results
In theatrical entertainment has again been
demonstrated In The Billionaire." 1t has
appeared for some time that lavish expen-
diture would counterbalance all deficiencies
elsewhere, although THE Girl from Up
There" was argument to the contrary.
Nothing that the costumer could devise was
left undone to make this new production
splendid success. The GOODNESS with which
II was received in Baltimore and in this
city Is reminder that audiences demand a
few ideas in an entertainment. and that
while gorgeousness may be accepted as an
apology for deficiency of wit, 1t cannot
deem utter mental vacuity. The Billionaire"
has not a clever song in it and not vestige
of the satire which the title SO piquantly
suggests The topic teens with possibilities.
but the truth of the matter probably is that
the average producer, be he writer for the
stage or a manager does not trouble him
self enough about matters of current public
interest TO be able to give them intelligent
humorous consideration. The manner in
which The Billionaire" lodges its main
theme and relapses into the platitudes of
farce Is proof conclusive that the American
Aristophanes has not yet arrived. The
lyrics are fiabby and the music of necessity
correspondingly Debated. 1t Is difficult to
see why Jerome Sykes should be expected
to be the only comic opera comedian In the
business who goes on to amuse an audience
without makeup. The comic opera come
dian must have war paint and feathers; 9TH
erwise he seems human and unimpressive.
X + 4
The Four Cohans," after a starvation
week in this city last year, came back after
more of the same and got it. There is much
talk of the enormous patronage they enjoy
In the large cities. But Washington evidently
does not care for them; at least not at
high prices. If New York. likes them, so
much the better for the four Cohans. Back
to the metronopusr'
Among the notable actors who now re-
hearse and produce their own plays Louis
Mann must be numbered. He personally
superintends everything connected with
his productions. and Is thorough master
OF every line in the play, has a most COM
plete conception of how it should be
spoken, and, possessing exceptional powers
OF mimicry, he not only tells the player how
It should be enacted, but actually shows
him. Mr.. Mann, though by nature of an
excitable temperament. nevertheless con-
ducts his preliminary work with cooIre s.
and has the faculty of getting the greatest
amount OF work from the players with the
least amount of friction. He is a great
st!ckler on detail, and little things irritate
MIN Outlines more than some great blum
der. His stage pictures are models of artis-
tic grouping, and he has peculiar faculty
Tor italicazing the smaller paris and max
Ing them stand out by a simple word or
gesture perfectly timed. Voice meditation
among all his players, and If they pro-
Hounce some words indistnct, Ii is not be-
cause MIR. Mann neglected articulation AL
logether considered, he is bunch of
nerves, has indomitable WILL and that
greatest requisite for success. without
which even genius sometimes fafIs-canac-
fty for hard work.
Ruling passion Is strong in life but nevsr
more forcibly shown than in the case of
Louis Mann and Clara Lipman. Last sea-
son, when they were starring In "All on
Account of Eliza" it was announced that
they would give an elaborate production
OF THE Merchant of Venice" at the end of
the season, Mr.. Mann, of course appearing
as "Shylock" and Miss Lipman as 'Por-
tia" The idea had been in Mr. Mann's
mind for some time, but for various rea-
sons, and feeling that he would not he
taken seriously, the production was put off
lie has never lost sight of his original in
tention, however. and though he is annaar
Ing this season in "Hoch, the Consul {" as a
separate star, severing his connection with
cara Lpman, who also conducts an indI-
YlouaI starring tour, his management an
Eounces that he win in all proba bility toJn
forces with her again at the end of the
present season. the two appearing in .srrha
Merchant Of Venice" for a limited engage.
ment.
During the act of the Russell brothers a,
the Detroit Avenue Theater recently an
incident happened which threatened a bur-
ry-up call for the house physicians serv
ices for several cases of hysteria. II sIsa
goes to show that fact Is stranger than
fiction. Almost at the rear of the house In
the aisle seat was an old Irishman, whose
appreciation Of the Irish Servant Girls"
in the persons of the Russell brothers found
vent in chuckles and the stamping If his
well-worn stick on the floor At that
point In the sketch when Maggie and Lizzie
get on the home stretch in the little difft-
Guilty where Maggie says 9TH Irish is com
In on tn rush" the old man banged the |
seat with his cane, stood up and yelled in |
q. voice as strong as Maggie's Fight, We |
OWLS, fight" Even Maggie and Lizzie"
were phazed for a moment, while the au-
dience reared and roared and gasped hys-
terically for breath.
Manager Kelly OF the Royal Lilliputians |
while in Bridgeport, Conn, a short time |
ago ran across a relic OF days gone by that |
Ia of much more than the ordinary interest, |
the original carriage which the prince of |
showmen. p. T. Barnum, had constructed in |
Londoa. Eng, for the great little General |
Tom Thumb and in which he paid his re-
spects to royalty when he was being toast
ed and feted by the crowned heads as no |
artist has been before or since
Manager Kelly went over from Bridge
port to ''Sunnyside." the home of Rarnum
~ reminiscent mood to look over the old
psnoe Wnere ne had been many times enter