The Irish standard. [volume] (Minneapolis, Minn. ;) 1886-1920, 1903-01-10
1RIsHMEN OF THE STAGE.
Seine Types Of Which Any People
Nav be Proud.


bernians, which lately declared that
1T would begin crusade looking to-
ward the extinction OF the stage Irish
man, did not expect to be taken liter
ally. The various stage Irishmen are
quite as different as their originals in
real life, and even more so. Some of
them represent types of character
which any people might be proud to
cherish. They range from the nation
al hero to the monkey-faced jester of
vaudeville. Certainly no Irishman
would wish to abolish them all. 1t
would be necessary to draw the line
somewhere. And since no nationality
has furnished more different and wide
ly varying types to the stage, the line
would be hard to draw, says the Chi
cago Tribune.
Perhaps stage 1rishmcn will be
classed as follows:
/. The Heroic Irishman.-The best
example of this class is probably found
in the many dramas based on the
heroic life and death of Robert En-
met. The latest play to bear this title
is now being presented with great sue
cess in New York by Brandon lyman,
a young Irish actor, who is at once the
author and the star of the piece. The
character he represents is essentially
heroic, and the play, like most of those
which preceded it, contains liberal
quotations from Emmet's speech in his
own defense and vindication. En-
met is presented as Il young man Of
splendid bearing, and he speaks with
Just touch of brogue which certainly
has nothing of the humorous about it.
2. The Burlesque Irishman.-As far
us possible from the heroic type is the
monkcy-faced Durlesquc Irishman, so
often seen on the vaudeville stage, and
against which the attack of the a. o.
II. is chiefly directed. \ vaudeville
programme which does not contain a
couple of comic Irishmen on it's list is
rare. His makeup is always the
same. He wears i; bunch Of bright
red whiskers-Of Il color never seen
anywhere else-under his chin, and
his face is deeply lined with grease
paint. Eddie" Girard, of DonneIly
Il Girard, is good example of this
type In one of his acts he carries
the monkey faced makeup to it's legiti
mate conclusion and actually perches
on the arm of his partner who is Il
big man and able to stand the strain.
The reason why the comic lrishman
is so popular with players of the
cheaper sort is because lie is so we'll
known and his makeup is SO easy to
put on. Every costumcr and wig
maker has outfits for burlcsque Irish
men ready to wear, and they arc sold
ut low figures.
The reason why this type is objcc
tionahlc to the more sensitive men,
bers of the same race are plain. He
is ridiculous in appearances; his idc;,
of wit and humor is to hit his part
her over the head with custnrd pic
or to beat him with slap stick; he
is the butt for endless jokes and tricks;
and there is nothing about him which
is In any degree admirable.
8. The Happy -Go-Lucky Irish Lad
Dion Boucicault was the originator of
this well-knOwn class of Irish clnrac-
ter. AS Con, the Sllaugraun, and
Shaun, the Post, he was the ideal of
the bright, good-lookng, quick wittcd
and ready young chap who was never
mt loss for a retort or a dance step.
Surely, no compatriot could find fault
with this type of character.
He is entirely lovablc and everybody
who sees him is his instant friend.
No other stage character is so well
calculated to enlist the affections of
his audiences.
Joseph Murphy was another actor
who played the handsome Irish youth.
In "Shaun Rhue" and Kerry Cow" he
perpetuatcd a type of which no Iris
man need he ashamed.
4. The Irish Villain and Informer.-
In all the Boucicault plays there was
Il character, also Irish, which served
as foil and contrast to that of the hero.
played by the author Of them. He
was Il hard-faced wrinkled man, witt,
possibly little. short, chopped side
whiskers and heavy eyebrows.
81 want me rint,' was his typlcai
speech, and he not only eXacted the
last dollar that was due him. but took
due advantage of every good-naturcd
slip of the lovable hero He was not
pleasant character, but he served
his purpose in emphasizing the good
qualities of the hero. OF this class
was Danny Mann and Mike Feeny.
S. The Sentimental Irishman.-Wm.
J. Seaman was one of the first who
played the sweet-singing, well-groom-
ed young 1rishman in laces, smalls
and frills. The sentimental type never
fails to sing. in a sweet tenor voice.
at least one serenade to his sweet
heart, followed by song to the "chil-
der" Among Scanlan's successors are
Chauncey Olcott and Andrew Mack.
;. Some years ago Mack put on piece
called "An Irish Gentleman" which
was an Irisl, "dress.srit f1rN mn - hid