The Indianapolis journal. [volume] (Indianapolis [Ind.]) 1867-1904, 1903-12-20
Notes and Comment.

Marie Cahill who Is to be seen at En-
glish's New Years eve in Nancy Brown"
doesn't believe in stage kissing and has
written rather lengthy protest against
IL for a Chicago paper. Arthur Dunn, the
little comedian of the musical comedy,
1.-The Runaways," who has a song I'm the
first act of the piece during which he
kisses the six pretty widows" has also
taken dead set against OSCILLATION on
the stage and is just about ready to quit
his job. This is what he had to say on
the subject to New York interviewer:
1.-The kiss may look good from down front.
but here's the line of talk 1 get handed out
to me every time try to kiss one of those
widows:
Don't you dare to tear the gown or
I'll have you settle the bill out of your own
while Lottie Medley is pursuing up her
audience to apply for the job of under
study, / am informed to keep my distance
and not dare rub the makeup off her face.
sigh and murmurs. Thank goodness, that's
over And, in spite of these cruel stings,
have to respond to an encore.
People who applaud may envy me and
may think they know something about oscu-
lations, but they don't know the pangs or
anguish in stage kissing. My song Is sup
Week. but 1 certainly have to work over
time. There are eight days in all my
weeks.
Figure 1t out for yourself-six kisses to
each chorus and five encOres. There 8
thirty-six kisses. Seven performances a
week means 252 kisses. and as we are in
our sixth week. over $500 kisses are already
placed to me credit
Fancy, anyway, the inconvenience of
kissing a pretty girl on a ladder or on
stills. Instead of getting sympathy from
81 oh xnyno II try 10 h0l
myself on stills and look pleadingly for a
kiss, a girl murmurs, soto voce:
Look out, you're going over! Don't you
dare grab my dress!"
If it is true. as reported, that the big
theatrical firm of Klaw & Erlanger are to
send 1.-THE Japanese Nightingale on a road
tour ahead of David Belasco's 1.-THE OAR
ling of the Gods in a spirit of revenge as
a result of a recent quarrel between this
firm and Belasco, 1T would seem that q
great mistake will be made. In the first
place, the Belasco drama of Japanese life
has proved far the more successful of the
two plays and everybody who is posted in
theatrical affairs knows this. "A Japanese
Nightingale has not met with the favor in
New York accorded 1.-The Darling of the
Gods" although the latter is considered a
beautiful production. Mr.. Belasco's drama
was the most brilliant success of last sea-
son in the metropolis and IL is one of the
very few theatrical attractions that have
proved financially successful in New York
this year. There is great interest In the
play throughout the country and 1t Is not
at all likely that the theater-going public
''in the provinces''--meaning cities like St.
Louis, Cincinnati, Indianapolis and even
Chicago-would allow THE Japanese Night
ingale'' to keep them from attending later
on the presentation of the first and more
successful OF the japanese plays. Revenge
of that sort has rarely succeeded. About
the only case on record where 1t did sue
coed was when THE Cat and the Cherub"
was sent on the road ahead of THE First
Born (both being plays of Chinatown life
in San Francisco), the former piece taking
the wind out of the sails of the latter. And
1.-THE First Born" was far the better play
of the two.
There Is English performer now in
New York who has never played anything
except animal bird parts on the stage.
His name is George Stanton and he Is at