davidaulloa/AmericanStories huggingface dataset:
The Washington times. [volume] (Washington [D.C.]) 1902-1939, 1903-07-19
Must Keep Moving.

But the most arduous duties Of the
wardrobe mistress come during the per-
Torrance. when she seems almost omni-
present. She slips from dressing room
- dressing room, from one side OF the
stage to the other. She it is who notes
the careless girl who sits down on a dirty
stairway without first raising her frock.
fresh from the cleaner. She catches the
girl whose idea of fun is to discipline her
men friends in the chorus by Shaping
them with white chiffon parasol and
thereby accommodating rouge and make
up where Il don't belong
She goes through the dressing rooms
after the performance and takes the
the names OF girls who forget to put
their plumed hats into the boxes or 10
cover their gowns with sheets. She dis
tributes fines varying from 80 cents to
81. and she can always account in the
presence of the girl for the fine. She
combines with just sense OF discipline
rare executive ability and keen knowI-
edge OF human nature.
The Washington times. [volume] (Washington [D.C.]) 1902-1939, 1903-07-19
Lorna DOone Out of Date.
Another Great Story Which Has Been
Worn Out BY Much Hearing.

THE great stories OF the world. most
OF them NEUROLOGICAL in origin. and she
great heroes who acted them, have way
of petering out as the times grow older.
till sometimes they caper elegantly in
operettas, and sometimes limp and Ian
guish through nerveless plays" accord
ing TO one writer in the Times
The process. no doubt, is natural: no
doubt. all things considered, il was natu-
raj that Miss Annie Hughes version OF
Lorna DooEe. presented at the first Of
the three matinees. should have but lit
tie left of the original stuff Of the story.
ITO ExmoOr. Jan Ridd is a god. or at
least a demigod; Ineally descended,
through countless different forms, from
some primevaI deity of strength, with
new adventures fitted 10 the need OF the
times. but always with one pre-eminent
characteristic, strength, force, vigor.
AT the Avenue he is an excellent
young man with a gift for picturesque
attitudes and for uttering irreproaeh-
able sentiments very largely in blank
verse. And Lorna Doone is = pale young
lady. also with gift for blank verse
and ether meters. whose costume OF the
period OF 1850 and frequent use OF thee
and thou sannot conceal the fact THAI
she is desperately modern, even llttie
anaemic
1T IS not entirely Mr.. Hayden Cof-
fms fault. nor Miss Lillian Eldee's. nor
Miss Annie Hughes; it is the spirit OF
the age that insists upon intruding into
the most carefully built imitation OF the
antique. What has happened 10 the
leading characters has happened 10 the
story. too II has petered out.
True. we have ranting Doones and
bludgecns and pistol shots and dead
bodies; we have alarums and excur-
sions; we even have. in the fourth act.
q very unexpected case OF burning alive
The Washington times. [volume] (Washington [D.C.]) 1902-1939, 1903-07-19
A Trying Position.

Ct wouldn't have that wardrobe wo-
mans position for four times the salary
she draws, and her salary is no trife
either" remarked a bystander. The
costuming OF a modern musical specta-
Gle has completely altered the duties
and status of the wardrobe mistress.
She is now one OF the most important
personages around a theater. and has
more responsibility after the show set
ties down for a run than the stage di-
rector himself.
When tinsel. cotton-bac satin. and
spangles were accepted at par. a ruined
costume represented but a trifling ex-
pendlture. Now. with Fifth Avenue mod
istes enhancing the beauty OF show
girls, and theatrical costumers trying
TO run things in competition with the
most exclusive modistes the average
Up-to-date manager faces large bills.
The Washington times. [volume] (Washington [D.C.]) 1902-1939, 1903-07-19
Morals and Art.

But, the play writer argues, shifting
his base, dramatic art must often rep
resent life without reference to the
moral ideal, because the life of average
humanity often lacks It and because
1.-The public" resents its Intrusion. II
is such contentious as these that try
the moral fiber of play-writers; and II
is not surprising, perhaps. considering
poor human nature, that they mostly
yield their assent. The idea seems to
be that the stage is TO mirror actually
without reference to a final cause or
moral motive
Now, whatever may be the verdict of
the public" such representations can
not be considered good art; for bad
morals is always bad art; nor would
such plays be judged good by any prop
erly qualified audience. In other words.
the play-writer is bound to consider.
not only the morals of his own crea-
lions, but also the effect such creations
are likely to have on the morals OF the
public.
This is point in criticism too little
reflected upon by play-writers and act
ors alike. All the fine spiritual sub
tlety of the drama is involved in II. I
am not going beyond my book when 1
say that the great bulk OF modern plays
leaves the audience without any bracing
sense of the meaning and value of life
but rather with a feeling OF surfeit. rs
though the digestion had been over
taxed.
How different the clear air of a
Shakespearean comedy, How sponta-
neous. free, lifelike, It all is. What a
fine sense of proportion and fnality is
displayed
The contention of the modern PLAY
writer that the average morality of the
public does not permit the enjoyment of
moral and elevating drama: that his
business is to portray life as it is, is
only the error of realism over again.
The contention. at bottom (and here
return TO my original point, involves
the moral responsibility Of the play
writer.
Is ii the duty OF the dramatist 10
create permanent literature if he can.
or is realism the true point of vieva
For my own part, as a critic, | do not
hesitate to oppose the latter claim. AS
regards the former, the situation is
plainly this: the noblest dramatic art
bases Itself on the higher motives.
Given these motives, dramatic artists
will naturally interpret life in terms OF
idealism; they will capture our senses
only TO reach our minds, and thence
penetrate to the sanctuary Of the soul.
The plays produced under these con-
ditions could not fail TO elevate the
stage. That the main drift OF dramatic
art is still sensual. pandering TO the
realistic idol, is due. in large measure,
to the realistic atmosphere of a modern
play.
The Washington times. [volume] (Washington [D.C.]) 1902-1939, 1903-07-19
First Cost Trihing.

The first cost OF stage gowns does not
tell the whole financial story. either. A
woman in private life wears a party
frock half a dozen times. having 1t
handled carefully by her maid. laid
away in tissue paper. and otherwise
guarded against rough usage and dirt.
yet after the sixth or seventh appearance
she is apt to pronounce 1t passe. These
stage gowns. made of fully as fragile
materials, are subjected to the wear and
tear OF seven performances a week. dur
ing which girl is too busy pleasing the
audience to watch whether the next
girl in the line is standing on her train
or il the comedian has caught his but
ton on her lace sash. And the duty OF
the wardrobe mistress is to keep these
costumes in a presentable condition.
The dresseTs see that costumes are not
thrown on hastily. carelessly fastened
here with pin and there with a string.
and under their watchful eye. too. the
girls refrain from tossing their gowo
in the corner when making a quick
change.
The dressers note signs of wear in the
gowns and report to the wardrobe mis-
The Washington times. [volume] (Washington [D.C.]) 1902-1939, 1903-07-19
Feeling of Sympathy.

on certain days the public warns up
more to the subject than at other times.
That is so everywhere, not more in Lon
don than in Paris. But 1 always feel
the sympathy of an English audience,
and have been here now many times
" You find some plays more readily
grasped than others?'
oh, yes. A great deal depends on
the play. Where the motive is clear and
the dramatic interest strong. the Ian
guage makes less difference. Tonight.
for instance. the plot is obvious and all
can follow 1t. Where the interest turns
on mere word play or subtle distinctions
OF meaning Of course II is more difficult
to hold the audience
rs the examination OF the prisoner
and his wife by the juge CONSTRUCTION
in La Robe Rouge a true picture OF
French legal procedure?'
The Washington times. [volume] (Washington [D.C.]) 1902-1939, 1903-07-19
The Stage Wardrobe Woman
Arduous Duties That Keep Her Busy
Most Of the Time.

Yes. I fined her 81 and she deserved
it, II a girl can't see knot hole in
the floor without sticking her parasol
tip through It. she ought to be fined.
That is the second parasol she has brok-
en- since We opened"
But you could buy a new one for 81. -
persisted the chorus girl. her eyes full
Of angry tear.
THAT is all you know about it. Those
chiffon parasols cost So a piece, and 81
for having them cleaned only last week.
That fine stands"
And the tall, strong-featured brunette
in her black dress and embroidered
apron. stalked away. while the little
chorus girl patted her fluffy pompadour.
counted the money In her salary envel-
ope. and went her way. still wearing an
injured expression.
The scene was the little den where
Treasurer Comstcck OF the Casino pays
of the members of The Runaway
Company every Saturday.
The Washington times. [volume] (Washington [D.C.]) 1902-1939, 1903-07-19
Hours Are Long.

Her hours are long. especially when
the play is Just settling down for run,
because in addition 10 her hours at the
theater she goes to the photographers
studio whenever the chorus girls are be-
ing posed. She orders the packing OF
their costumes, unpacks them at the stu
do. stands guard over them during the
posing and sees that they are safely
shipped back to the theater.
And this is the strangest part Of her
work. Martinez that she is, every girl
in the show swears by her. She is re-
IentIess in case of breach Of discipline.
but let anything happen to one Of the
girls. a fainting spell. telegram bear
ing bad news, and the wardrobe mis-
tress fairly bubbles sympathy Of the
most practical sort. She has stock OF
simple remedies always at hand. she
knows Just what TO do in case Of emer-
gency. and she is a master hand at in
ducing the management to provide cab
in case OF real distress. l have heard
a girl who said unprintable things over
her fines beg like child for this same
wardrobe mistress when taken i'll in her
dressing room.
The Washington times. [volume] (Washington [D.C.]) 1902-1939, 1903-07-19
Nedee' a Notable Work.
Is a Drama of Classic Character and
Deep Feeling.

According TO a Paris note in the
Chronicle, ''Medee." produced at the
Coincide Franchise. will greatly add IN
the literary and poetic reputation Of NJ.
Catulle Mendes.
The author rightly describes IL as a
drama. for he has left the paths Of in
spiration followed by Euripides. and bv
condensing the action into three acts
has given his work all the thrilling
pcignancy Of medieval rather than a
mythical romance. The episodes of
Medee,' dramatized in Greek. Latin.
French, and English, need not be re-
peated, and NJ. Catulle Mendes deserves
special merit for his courage in cboos-
ina the tragic love and revenge OF the
sorceress Of Colchis. History. indeed. re-
peats itself so strangely that the keenly
apIreciative audience seemed to have the
sanguinary mirage of the Servian capf-
tai before it during the scene of the
murder Of the aged King Creon and his
daughter Creusa.
The verse OF the French poet is meIo-
dious and full of passion. and the acting
OF Nine. SECOND Weber was worthy Of
the stage upon which former queens OF
tragedy have acclaimed. AS Jason. NJ.
Albert Lambert admirably depicted the
mingling of perfdy and the amorous
power Of an inconstant lover. Mile
Yvonne Garrick recited an ode as maiden
of Corinth on the pranks of Cupid, which
gave the impression of a passage in the
Midsummer Nights Dream" There is
in truth a Shakespearean aroma all
through this graceful and vivid poem.
The Washington times. [volume] (Washington [D.C.]) 1902-1939, 1903-07-19
Describes a Scene.

" AS It is? No. AS it was until re-
Gently the play is a true study. But
now law has been passed emitting the
accused to have counsel present for his
defense during the examination. You
must really see the third act went on
Nine. Rejane. There is a great scene
in it, difficult case of conscience. The
prosecuting counsel. after going into all
the facts, becomes gradually convinced
OF the innocence of the prisoner The
trial is to him a great opportunity. He
has been looking forward to It as the
chance of making his mark. OF showing
how well he can handle the court and
the jury. And now he sees that the ex-
ercise of his powers will mean the GER
tain sending OF an innocent wretch 20
his doom He must stiie his conscience
or stand revealed as an ignominious
failure. 1t is a great scene. You must
not miss seeing it
The Washington times. [volume] (Washington [D.C.]) 1902-1939, 1903-07-19
Literature OF Realism?

II Is one of the incest question in dra-
matte esthetics whether actors should
hide their personalities in the part
played. or whether their own ideals
should penetrate it. Differently stated:
Should the actor be Indifferent to his
role, yet concerned to produce the right
effect on the audience; or should he sup
port HIS role with his own emotions
prcsuming they are the emotions appro-
pirate TO the part played? This question
has been ably discussed by one of the
best OF modern critics. Mr. William
Archer, in his little work entitled
Masks and Faces" The reply. In gen
eral terms. seems 70 be as follows:
Those actors produce the most artistic
influence who are most successful in as
The Washington times. [volume] (Washington [D.C.]) 1902-1939, 1903-07-19
Stage and Morals.
A Scholars View of the
Union Between the Two.
An UnfaVoTable AppTaise-
ment of Today's Dramatic
Art.

IT HE present state of dramatic art
in this country hardly warrants
optimism. Thus writes Henry
Davies. lecturer on esthetics in Yale
University. Our trouble is not an mad
equate knowledge of the splendid
achievements OF the past Nor does It
seem to be lack of insight into the
sources of enjoyment afforded by the
present. 1t lies rather in our lack Of a
clear conception of the relation of art
TO morals. a fact which naturally cuts US
of from the best in the past, and lowers
the standard of the stage as we now
know it.
II may be assumed, in this critical re-
view. continues Prof. Davies, that dra-
matte art depends for its power and per-
manence, as art, upon its ability to stir
our emotions and to instruct our minds
Z through speech and action, so that we
are led to form sound judgments about
life. The drama that does not both
please and instruct, that does not com
pei Judgment of approval or disap-
prevail at the same time that it kindles
our senses with the pleasing mask OF
aeing, is, take it. defective drama.
Not that certain forms of acting
vaudeville. for example-may not make
pleasure more obviously the object than
instruction. This is freely admitted. But
even these more initiative forms of dra-
matte art cannot be artistic. and simply
amuse us. without injuring the influence
OF the stage. 1t is not only false as art.
but it is bad morals-and bad art is
always bad morals-for all art, and
therefore dramatic art. must hold up the
mirror Of truth to life and make us
pleased with the portrayal
The Washington times. [volume] (Washington [D.C.]) 1902-1939, 1903-07-19
MIS-. Pat Campbell as Beata
London Critics On Her Appearance in
"The Joy of Living"

American playgoers are likely TO be
interested in the London opinions OF
Mrs. Patrick Campbelrs performance OF
The Joy of Living" since she appeared
in the English translation OF the Suder-
mann play not only at the Garden Thea
ter In New York, but elsewhere through
out the country. Says the Daily Tele-
graph" Mrs. Patrick Campbell. freshly
returned from her triumphs in the Amer
lean continent. appeared once more last
night before the English public in a
character which in many respects is
adapted TO her quick. eager, sensitive
personality.
"Sudermann's play. The Joy of Liv-
ing. has about it singularly little Joy,
and leads up to death. 1t Is a gloomy
play, full of ideas of punishment for
carly wrongdoing, of remorse for con-
travention OF social codes, above all.
Of the alternate exaltation and depres-
sion of a highly nervous and excitable
woman. It is not the first time that
Mrs Campbell has shown that she can
illustrate with artistic insight the char
acter of the heroine highly charged
with nervous and electrical force.
'Of the three great artists who have
played In Sudermann's 'Magda,' Sarah
Bernhard, Eleanora Duse. and Mrs.
Patrick Campbell, the last is probably
the best of the three-a notable triumph
for an English actress. and one which
rebounds to the honor of our sta ye."
Mrs. Patrick Campbelrs Beata does
not seem so exclusively German as do her
bearded associates" says the STAND
ards" critic, but she plays so well that
the attraction the character had for
her is readily explained. Her tender
ness to her daughter and to Norbert.
her stanch affection for Richard, and
the discrimination shown in her manner
TO her husband. are all to the purpose
The emotion. no longer to be depressed,
which forces her to interrupt her low
er's denial and pledge. was finely indi-
Gated. and so was the dazed suffering
Of her subsequent scene with Richard In
the latter's house.
"A mistake. however, was made in OBJ
tanning a laugh at most inappropri-
ate moment-when rereading an old love
letter she had written. An expression
in it strikes her as neat, and her Not
so bad, you know seemed quite out OF
place. Martin Harvey imparts dignity
and earnestaess TO his Richard Won Vol
keriingk; the drama received every ed-
vantage that a sound Interpretation
of this important part could give it,
The Chronicle says:
For Mrs. Campbell the part Of Beata
Is scarcely likely TO prove another Mag
da. although toward the close. when the
guilty wife sacrifices herself in order
not only that her lover may live to pur-
sue the splendid career she believes
awaits him. but that his son and her
daughter may be happy together. there
Is scope for the display OF her emo
uonal power. In each of its varying
phases she understands the character.
which is exceedingly difficult anG not
always telling"
The Washington times. [volume] (Washington [D.C.]) 1902-1939, 1903-07-19
More Interesting Than Play.

But Rejane. with her flashing eyes
and wonderful flow of conversation, her
infectious vitality which the passionate
scene in court and the struggle with the
gendarmes had left unimpaired. was
more interesting than even the case z;
conscience of the worthy counsel in the
third act. AS she leaned almost up
right on the couch and talked away II
was plain she was good for a struggle
with twenty gendarmes If occasion
should need. The scene had taken less
out Of her than out of the flushed and
eager spectators who had so wildly
cheered at the end Of the dramatic strug-
gle"
The Washington times. [volume] (Washington [D.C.]) 1902-1939, 1903-07-19

smiled with pleasant vivacity which
assured one Of the whole hearted sin
certify OF the declaration.
Your public is the most attentive.
the most sympathetic, before which I
have ever played. l love to come to
London; I am always at home in your
theaters.'
I suppose the proportion of the
audience able to follow the French varies
a good deaI?'
The Washington times. [volume] (Washington [D.C.]) 1902-1939, 1903-07-19
Leon Espinosa Dead.

The death Of Leon Espinosa, which
occurred In London the other day, has
removed a figure which played a promi-
nent part in theatrical life, both before
and behind the scenes, for half a cen
fury. In his younger days he was IA
nous as n dancer and in his later years
as an inventor of dances and ballets.
His name was associated intimately
The Washington times. [volume] (Washington [D.C.]) 1902-1939, 1903-07-19
How to Create Right Tastes.

My hopes and fears for dramatic art
center round the task OF creating right
tastes among the people. This is a
large work, which some have already
prejudged to be impossible OF consum-
nation. but without proper investiga-
ton. The stage will never lose its hold
on the public The only question is
where TO begin to make It the vehicle
OF the best influences. Now I think
three things are obvious here.
In the first place, much can be ex-
pected from the gradual introduction of
The Washington times. [volume] (Washington [D.C.]) 1902-1939, 1903-07-19

with the spectacular triumphs of many
o. the most noteworthy REVEALS of
Charles Kean and Sir Henry Irving. and
with some OF the most dazzling scenes
ever exhibited at Covent Garden or the
Ter Majesty's OF former days. He
war at the Lyceum with Sir Henry IT.
wins for eleven years.
The wonderful pictures in Robes
pierre were the result OF some of his
latest work.
The Washington times. [volume] (Washington [D.C.]) 1902-1939, 1903-07-19
The Need for Seriousness.

The present condition Of dramatic
art, as represented by the stage shows
that what IS lacking is 4 serious motive
to create true works OF art. a purpose
TO instruct as well as amuse 1t shows
as well that q serious public is lacking
1t is these persons that are involved In
the task Of raising the stage to its post
ton as a moral institution. Let US see
how
The Washington times. [volume] (Washington [D.C.]) 1902-1939, 1903-07-19
A Stock Question.

What do you think of the English
public. Nine. ReJane?'
"'Ah! the English public l love. and
they know It. l am sure And she
The Washington times. [volume] (Washington [D.C.]) 1902-1939, 1903-07-19
A Theatrical Interview.
Much the Same in London as in
America.

The theatrical interview abroad has
much in common with its counterpart on
this side of the water. Here are some
of the Impressions of a Standard man
who visited Rejane behind the scenes:
1T is the duty of all good interview
ers," he says. when talking to repre-
sentatives of a foreign nation, TO fish
for compliments for the British people.
1t is shameless. and not at all original,
but of course Il had TO be DONE
The mirror. (Stillwater, Minn.) 1894-1925, 1903-01-15
of Calcutta.

DALCUTTA is the British mer-
chant-sailor's mecca. If you
~ were to ask one of the older
men in the Liverpool Sailors
Home where his last voyage was he
would answer Calcutta. And the one
before was Calcutta, and the one before
that, and so on for twenty years. They
have sailed that voyage so often that
they know the course by the sparkling
of the water.
Calcutta is on the Hooghly, about one
hundred miles from the sea. It is a
strongly fortified town, and is the great
commercial center of Bengal. It has
many mosques, temples and pagodas,
and in the European portion of the
city there are pslatial residences and
public buildings. One of the latter is
the Sailors Home, fifteen years ago
the most popular resort for sailors in
India, but now going to wreck and
ruin. So q sailor told me on New
Years Day. Poor fellow, he is also
The mirror. (Stillwater, Minn.) 1894-1925, 1903-01-15
Blood Is Red.

SOME of us don't drink, some of us do;
Some of us use word or two.
Most of us. maybe, are halfway ripe
For deeds that wouldn't look we'll in type.
All of us have done things, no doubt,
We don't very often brag about.
We are timidly good, we are badly bold,
But there's hope for the worst of us, Thold,
If there be few things we didn't do,
For the reason that we so wanted to.
Some of us sin on smaller scale.
{ eve don't mind minnOws. we hate whale.)
We speak of woman with half sneer,
We sit on our hands when we ought to cheer.
The salad we mix in the bowl of the heart
We sometimes make little to tart
For home consumption. We growl, we nag
But we're not quite lost if we sometimes drag
The hot words back and make them mild
AT the moment they fret to be running Wild
Don't pin your faith on the man or woman
Who never is tempted. We're mostly human.
And whoever he be who never has felt
The red blood sing in the veins and melt
The ice of convention, caste and creed,
To the very last barrier, has no need
To raise his brOws at the rest of us.
1t bideS it's time in the best of us,
And well for him if he do not do
That which the strength of him wants him to.
Edmond Vance Cooke, in Saturday Evenin,
Post.