The Indianapolis journal. [volume] (Indianapolis [Ind.]) 1867-1904, 1903-11-08
The new YORK THEAHERS
APPEARANCE THERE OF sIlyERAL
OLD FAvoRrTEs IN NEW RaLEs.
Difference Between Romantic Drama
and MeIodrama Dehned-Fssatur-
ing an Actor.


theatrical artists, Jessie Millwsrd and
James X. Hackett, and two coiSic. Sam
Bernard and Frank Daniels. weisa in the
plays introduced in Broadway ties week
Mr.. Hackett has come back TO broadway
popularity with John Ermine of s.he Yell
lowstone." 1t is a thin line that divides
romantic drama from melodramsx Often
the division is not visible to tn mixed eye.
when is a romantic drama melcslrama?'
might be answered. when its SCENES are
American" If the Sardou hero aes had
been homicidal In Wyoming insteadsof Italy.
should have smiled them satroniz-
ingly as Boweryish; and who wosld have
staged the turbulent story OF Rasgsndyn IL
It had happened in Montana instead OF
Zenda? These thoughts arise in che pro-
fessional mind while viewing the ply which
Mr.. Hackett now introduces. T.ley will
not trouble the general observer. lin fact,
there seems little reason TO doubt shat this
production will figure up. at thl end OF
the season among the big moneymakers.
Few will bother themselves over Sle ques-
ton of melodrama, geographically ar other
wise. Those who go TO see Mr.. sHackett
any way, in whatever he may act,ts will tell
their friends that as John Erminei white
man reared as an Indian. he is quisturesque
all the time. and becomingly in lofe almost
as constantly: that he lays down hls life in
sentimental heroism at frequent sapd ad-
mired junctures, and that, haviag defed
three kinds of sudden death and temained
faithful to his lady, he and she am happily
reunited, in the midst OF beautiful scenery
and under most romantic circus distances
So people rally to Mr.. Hackett betause he,
like Mr.. Crane in his different wssy, wisely
sticks TO the kind of role in whidh he has
prospered-a profitable constant which
more than one American star wOusl do well
to emulate.
So much for the success Of "Jshn Erm-
ine." There is a critical view to tate. and in
that view Mr. Hackett would sprobsbly
agree that the new play is not OF the very
best What Louis Evan Shipmansevidently
| tried to do, when he took the Characters
and atmosphere OF Frederic Rezningtons
story and pictures to build a plas on. was
to show the effect Of a refined sirl on an
| Indian-breo fellow who is honeft. manly,
yet still half savage. Mr.. Remtlgton did
that in the novel. Between book Movers an
author can explain clearly that mans
heroism is inspired by an ennolSing love.
and can keep that considerable upper
| most. But on the stage, heroism to be
| worth WHILE almost necessarily, becomes
the engrossing fact in itself, oversaadowing
| completely it's source. Thus, when John
Ermine rides out to save a camp; OF people
solely that he may rescue a gel he has
| not dared to raise his eyes to- the deed
as described in the narrative, Sr in the
scenario that Mr.. Hackett and M Shpman
built upon, may have seemed chiefly an ex-
| preston of human passion. In. the stage
representation nothing overtops She brave
act itself in the spectators mirfi, and SO
John Ermine," between scenario and COM
pleted play. crossed the line fropt romantic
| drama to melodrama.
| xxx
In his policy as a manager, as well as in
his Individual performances, M. Hackett
keeps his finger on the public pu:se-a rea-
son why he is able to combine stwo func-
tons seldom undertaken by a sinkle man in
America, though in London the Sctor-man-
ager is usual. Besides this s1gacity in
selecting "John Ermine,' he has shown it
In alterations since the productisn in Bos-
ton two months ago. Immediately he felt
that his audience did not like 20 see the
brave scout die, though that was a more
logical conclusion than to marry the un-
tutored mountaineer to the sensitive lady.
The happy-ever-after climax Vas tried.
and by popular approval it RECLAIMED so.
He started by giving himself TIE disguise
of Remington westener, but found that his
public wanted him as he is hiiaself. But
Mr.. HacEett has artistic idealt, and the
intellectual equipment TO realize Them. He
is building up a gooodly fortune syith which
well, of that later. For the present he
is giving to his admirers just swhat they
demand in John Ermine," ana they are
thanking him profusely in cash. /
XXX
Jessie Millward has for yearsland years
been leading woman" on the, New York
stage, but never a star until tthis week.
She Is enough Of an artist 10 s;Jisfy with
out personal beauty all the demands made
by her new pretentions TO distinStion. And
when you come 10 think of Il, Jew of the
successful actresses-that is, dramatically
successful-are more than pasyably good
looking. Beauty is not usually alied to ex-
ceptional talent. Call TO mind the faces OF
your favorites and you Will see that, while
they are agreeable. or attracti$e, or even
enhancing in their mobility. hafdly any OF
them would be accepted by tse hanging
committee for picture exhibit IN of fem
mime beauty. The photographers more
commonly aim their lenses at c;oruses and
ballots when hunting for lovelifess. Miss
Millward is a wholesome type ff the Eng
Ish woman, with a good face 20 act with,
but not to expose TO the camers,, and IL is
by her accomplishments that SIC has held
a place in London and New York theaters
these twenty years. In the Brssish capital
she was identified mainly with tmelodrama
in companionship with the lste William
Terriss, though both were at stimes with
Henry Irving. She was brought here for
Charles Frohman's Empire ctmpany, In
which she started so well as icomedienne
that her American vogue has, been a
sentimental humor.st. II. G. carton has
written a congenially serio-comt. character
for her in "A Clean Slate" The meaning OF
the title is that the wife of s worthless
man, whom she does not lovd when she
weds him and subsequently LED rms TO de-
spise. wipes clean her marriage, slate with
a divorce sponge and takes hfr pencil in
/