The Minneapolis journal. [volume] (Minneapolis, Minn.) 1888-1939, 1903-06-23
AT THETHEATERs
Lyceum-"The Fatal Card u

Some few years ago, in January of 1895,
70 pe exact, A. M Palmer produced melo-
drama at his New York theater, remark
aple not for the excellence Of the piece
OF us presentation, In the cast were
players OF such prominence and ability
as j. II. Stoddard, the finest "old man
the American stage has even known; W.
H. thompson, an actor of veteran expert
ence; p. J. Ratcliffe,s then the idol of
Gotham's matinee maids w. ]. Fergu-
son, r. a. Roberts Georgia and Amy
Busby, May Robson, Adrienne Dairolles
and others. The play was 1.-The Fatal
care. Its scenes We're laid in western
mining town and in London and its en-
yirons Its authorship was attributed to
Haddon Chambers and a man named Ste
phenson. The piece was English. Its
characters were Englishmen and it's ac-
ton, for the most part was located in
the tight little isle.
The melodrama was successful and, fol-
lowing Its New York run, was sent on
tour, and, in the course of the following
season, reached Minneapolis. So much
for the Palmer production.
Last night the Ferris stock company
presented a play at the Lyceum theater,
under the title of THE Fatal Card" "a
was an,Ameriean melodrama, it's charac-
tiers American and its action occurring
| wholly on this side of the Atlantic. On
the program George B. McFarlane, who
e eSeb r. may b SaIs1 a a9p4ouneed as its
l. Except .fors thsg tsapspplanting process.
however, and the remaining Of the char
acters, the two plays are the, same The
western mining camp has moved north
ward, into the Klondike, and London has
been transformed into Boston, The
Thames has become q placid New England
stream and the villain extraordinary has
discarded his monocle and his broad as
|Of these changes George B. McFarlane
presumably, is tho author, and because OF
them his name must needs appear as "a
playwright. To be sure, a certain amount
Of credit is due him, for he has invented
1 a pretty set Of names for another mans
characters. Therefore, let his name be
printed in bold capitals upon the Lyceum
programs.
/ II this is play piracy, it is to be com
mended for its very audacity. If not, an
explanation OF the raison d'etre Of one
George B. McFarlane might make anus
ing, If not interesting, reading. In the
absence Of any proof to the contrary, Mr.
McFarlane may be charged with the pa
ternity of what is bal in 1.-THE Fatal
Garland that is not a little; while
Haddon Chambers, who has done good
work at playWriting both before and since
may be credited with what is good, and
that, also, is not little, for the piece is
a long one and consumes a full three hours
! in the playing.
AS for the Lyceum production it is
poorly or conventionally mounted, with
the single exception Of the swimming
hole scene, which is adequate. From the
mummer's viewpoint however, matters
are better The personnel of the Ferris
company has changed rapidly within the
past few weeks and the company is g
much stronger organization than 1t was
in the regular season. It is still lack.
ing in spots, but a stock company is not
built In a day, and one must have patience
In Ben Johnson, Carl Smith Searle and
Herbert Benon, the company has an effec-
tive trio Of players, all Of whom appear
to advantage in this transplanted melo
drama of questionable authorship. Mr.
Johnsons Charles Leslie is an excellen
characterization of a. role which, in les.
experienced hands, would proclaim It's alb
Isurdity from the housetop. Albert Doris
is good as the Mexican;. and Stuart Beebe
does a clever bit of work as Bud Mitchell
! Bert MCCAIN is hopelessly amateurish a:
the Boston banker.
Among the women, Miss Gilbert make!
a sweet Ethel and Maisie Cecil is amusing
as Dorothy Mason. Miss Laurette Aller
lplays conventional spinster in good style
The Vera Manchester OF Miss Lieb is sat
/ isfactory.
II