The Indianapolis journal. [volume] (Indianapolis [Ind.]) 1867-1904, 1903-11-22


Fleming has made. though the dramatiza-
ton is not very expert and doesn't en-
phasize either characters or episodes suf-
hciently. But II is as faithful to the orig
inal story as an actable version could well
be. Julie is again a rebel against tyranny
of birth and caste, and again she goes
dangerously close. but safely not quite TO
self-destruction in a trip with her lover
on what. but for the lack Of a marriage
certificate. might become a honeymoon
After some ensuing variations In the tale
she is saved by the patiently faithful Della
! field to become his wife and a duchess.
We get the moods and motives OF this i'm
| periled heroine very clearly set forth by
| the actress, as they were by the authoress.
though without the best ,of help from the
dramatist.
Arthur Byron, who imoersonates Andre
well but hopelessly. is a son of the Oliver
Doud Byron who, though he began as
member of the modish Wallack company.
quit that to make fortune with his sem
| sational melodrama OF .Across the Con-
tinent" and retired to Lbng Branch years
ago to multiply his wealth in real-estate
| operations. Young Artbur's mother was
known on the stage as Kate Byron. and
| Ada Rehan ana Hattlet fuSSeH are nAe
aunts He is heir TO drsmatic talent.
Xxx =;
Most appreciate by critical observers Of
George Fleming's craft IN this play is the
efrectual unconventionali.y Of the climaxes
in two OF the acts. Do y.u recall the chap
ter devoted to the reception which Lady
Henry arranges and then abandons. and
which Julie disobediently gives in her
| urasantad on he stage after
the old woman has dismissed the guests
and ordered the servants to turn of the
lights, the girl is left alone in the drawing
room. You hear her sobs in the darkness,
but get no glimpse OF her till she opens the
wide doors at the back hallway as the cur
tain goes down The other silent ending OF
an act is when jules Vicious lover being
confronted by her virtus BUS lover and 9TH
ers, at the Paris rendezvous for her elope-
ment, cravenly denies that he Is anything
to her, but is betrothed to a more eligible
sweetheart. Thereupon she goes slowly
close and gazes into his face with a word
less yet eloquent expression of surprise.
sentiment and detestaticn. AT these juno
lures there is dramatic strength that is not
theatric.
John Drew's daughtet, Louise has the
small part of a naive young duchess in
Lady Roses DaughteS" Miss Louise is
not more than twenty. II so much that.
and youthful freshness gives a charm 20
her alert, sensitive vivacity. But she IL
far from pretty, with a. facial resemblance
to her grandmother, the late Mrs. John
Drew, and if she lives Icing enough she will
become as homely. However, she gives
tokens of developing. also. her famous
grandma's ability Coincidence. and IL
she does that who will; miss her lack or
good looks? She is now;a novice and shows
1t in every word and motion: but all the
words and motions are those of a graceful
girl and therefore attractive. Her mother.
the present Mrs. John Drew. was present on
the opening night and so were many FASH
ionable friends of the family. The Drews.
1 may tell you. move at will 'twixt society
and the stage. John Drew is the only
actor member of the Union Club. Even
Lester waIlack. i'm his heyday OF high
vogue, dared not let his name be voted on
for admission to that pretentious club. his
doting cronies therein fearing that it's un-
written bylaw against ectors might be sus-
tanned by black balls IN the box.
XXX
If ever soubrette had good name for
the posters she is FRITZ Schen. That short
line in tall letters will tell, don't you
think? that she is a frisky actress. Miss
Scheff has quilted grand opera this week
and gone into comic opera. She was a
minor light in the pfetentious realm Of
stately music, belittled by the vocal giants
around her, and getting few opportunities
to display her prettiness and pertness.
Charles B. Dillingham;, who has come into
theatrical mana cement with someone's suf-
fcient money to finance his ventures, saw
in FRITZ a hopeful recruit for his band or
stars, Now, this genuine artist mas nad
the time and the inclination, in the inter-
walls of singing in grand opera, 10 make
numerous friendly acquaintance among the
modish people who sit in the subscribers
boxes; and so, when she made her debut
as a star i'm "Babette." there was 1ne
assemblage of people who, besides applaud
ing, knew that they ought TO cry bravo
and not bravo. They made a tremendous
noise for her, and il IL. had been at foot
ball match / should can them rooters- And
their enthusiasm was warranted. FIFTH
shOne resplendently In her new environ
ment. Her friskiness was infectious. she
is what the women term cute and cum
ning-slender, graceful, agile and an imp
| for deviltry. oh. she wouldn't mind that
description, for she Is announced as the
little devil of grand opera.
Probably it is unreasonable to expect the
three merits OF a good lbretto. good
score and a good performance In one pro-
duction of comic opera. We get two Of the
three in "Babette." The music by Victor
Herbert is excellent, and so is the COM
pany's work, but the play itself Is by con-
trast as stale and fiat beer that has
stood over night in a wineglass. Harry b.
Smiths pen is clever when he uses IL In
his best way. but in turning this piece
from a French comedy TO setting for
Herbert's tunes and Fritizi Scheff's capers
| he has done little of original work and done
that little i'll. The heroine is a Neither
lands villager away back three centuries in
the time of Spanish domination. and II
comes in her way TO thwart scheme or
some neighbors TO aid the conquerors. A
part of her achievement is to substitute
herself and family for party travelling in
state and TO initiate their fine manners
Don't ask me how many times that plot
has served in frisky plays? Nobody has
kept count. What / am sure OF Is that
none Of them ever had duller story than
. 'Babette' a brighter heroine than
FRITZ Scheff One of her companions has
a voice 10 make her think she is still In
; grand opera. | mean Eugene Cowles.
whose bass songs. deep and strong. you
used 10 hear with the Bostonians. ten
derloin anecdote says that. when Mr..
Cowles was I'm cafe one night. the con-
versation turned TO the subject OF sound