Evening star. [volume] (Washington, D.C.) 1854-1972, 1904-10-08

dialect. Alvida is a Swede, and attends to
the personal wants of Mrs. Mann. She was
formerly maid to Julia Marlowe, and can
make herself understood in English, al
though Mr. Mann holds all his CONVERSE
tions with her in the Swedish tongue. Juliet
is French, and speaks her native tongue
exclusively. Sophia came from Alsace-Lor
raine and employs the dialect found only
there Malbina halls from South Austria
and speaks stacatto German. Mr.. Manns
valet is q Frenchman who is equally at
home with the English, German and French
dialects, and employees first one and then
another in conversation with his employer.
However, it is Mr.. Mann's ambition to
get away from the side-spitting dialect he
has so long used in his stage impersona-
tons. He is taking a step in this direction
in 1.-The Second Fiddle" To be sure he
uses a dialect, but it is more of serious
effort and with nothing of the groteSque
about it. AS Leopold, the hero of THE
Second Fiddle" Mann'S dialect is the cor
rect speech of the German from Vienna. 1t
is not carelessly given, and there is prob
ably no other actor on the American stage
who could so correctly voice this dialect.
In connection with the actors linguistic
ability 1t might be noted that he is now
engaged in the study of the Japanese lam
guage. Included in the-cast of THE Sec
ond Fiddle is Slate, young Jap, who ap
pears in the novel character of maid to
prima donna. Mr.. Mann takes daily les
sons in the Japanese togue from Slate, and
in return confounds the young Jap with
medley of English that has convinced the
oriental that the English language is ex-
ceedingly difficult of attainment for a for
eigner.
MIR. IIAWTREY'S DISCOVERY.-Charle
Hawtrey does not hesitate to confess that he
will leave polite vaudeville after next
week at Chase's with many regrets
cat first the question of caste somewhat
daunted me- said the English actor re-
Gently, "but my common sense quickly ex-
tricated me from the predicament when
observed in vaudeville such distinguished
players and singers as May Robson, Mar
guerite Sylvia, H. c. Barnabee Edwin Ste
yens. William Haworth, Catherine Blood
good, Jessie Bartlett Davis, James O. Bar
rows, Mrs. Thorndyke Boucicault and the
many other well-known artists whose posi-
tons with reference to the public are GER
tainly as conspicuous as my own. Self
conceit has never blinded me to the fact
that 1t is what the actor can do. rather
than the man, that concerns the public. So
far as the social or professional side of
vaudeville has affected me, l have found it
the most emnently respectable stage call
ing that could be desired at least as it is
to be observed in American theaters, where
the quiet and order back of stage during
performance can be compared with the
routine of a Well-ordered bank. There is
less personal contact or acquaintance be-
tween actor and actor in vaudeville than in
the dramatic calling, and 1 don't know but
what 1t Is better for the profession, the
theater and the actor"
A ROUGH AND READY ROAsT.-Ray-
mond Hitchcock tells this story:
George AIDE was talking at the Garden
Theater the other night about literature
The name of certain well-known, but lit
tle-read novelist came up, and Mr.. AIDE said:
HE Is good, but 1 can't staId his affecta-
lions. Almost effennate are the little curly
cues and the charlottesville ornamental
tons that he pins his sentences
HE is big" Mr.. AIDES companion as,
serted. "He grows bigger every year"
How about his sales?"
.Well. they are dropping off,"
II see," said Mr.. AIDE. You reckon his
bigness as you do that of a ditch--the mere
you take away from it tho bigger it be-
comes
A COMEDIAN In coURT-Char,es
Hawtrey says That as rule In England
an actor on the witness stand In court