davidaulloa/AmericanStories huggingface dataset:
The Washington times., 1904-08-07
The Winters Tale"
Viola Aliens Stage Manager to Come
From England.

Frank Vernon. the English actor and
producer. has been engaged by Charles
w. Allen to come to America TO stage
Viola Aliens revival OF The Winter'c
Tale" for next season. Besides being
enc Of the best-known producers Of clas-
sic plays In London, Mr.. Vernon is an
actor Of rare distinction. For several
seasons he played leading parts with
Martin Harvey. and has besides eSsayed
important roles in other prominent Lon
don productions. During his career IN
the English stage Mr.. Xernor has played
I'm fourteen Shakespearean productions.
and has been the producer Of rcvivals Of
Hamlet Richard III The Mer-
chant OF Venice Much Ado About
Nothing" "Kig Lear ''Richelieu," and
THE School for Scandal" During the
past season he produced and played in
the Court Theater's revival Of Romeo
and Juliet" Mr.. Vernor's ripe scholar
ship. long experience, as a producer, and
ability as an actor. should prove Of In
estimable value TO Miss Aliens produc-
ton Of THE Winters Tale" for next
season.
The Washington times., 1904-08-07
Extraordinary Run.
Mrs. Leslie Carter Has At Last Bid
Farewell to "Du Barry"

Mrs. Leslie Carter on Saturday night
July 20. in Seattle, Wash. made her last
appearance. for all time, in David Bel
asco's play ''Du Barry" The fact had
been widely heralded in the West, and
the good-by took place before an audi
ence that crowded the Seattle Theater
to its doors.
Next morning Mrs. Carter and her en-
tire company left for home by special
train. making the journey lelSurely by
way of the Yellowstone Park and St
Louis Several members stopped off for
the Exposition, but Mrs Carter after
the Yellowstone trip, started directly
for New York, where she will arrive
the latter part Of this week She will
then go at once TO her summer home at
Shelter Island. where she will have a
complete rest before beginning work on
the new tragic play in which she will
be seen a the Belasco next season.
As ''Du Barry" Mrs. Carter has es-
tablished several remarkable records
During her three seasons in this powerful
Belasco play she has been seen as the
beautiful miIliner-countess exactly LIS
times. and has drawn to the box office
more than 100000. She has Travelled
this year farther, and played longer.
than any other star. During the entire
three years she did not miss perform
gnce until her very last r0nth. when
she was obliged to stop for three nights.
I'm San Francisco, owing 10 nervous
collapse caused by overWOIk The part
Of Du Barry Is longer than the tradi-
tionally long Hamlet. and is a con-
The Washington times., 1904-08-07
Annie Russell.
John Corbin States His Opinion of Her
in the Cosmopolitan"

The charm Of Miss Annie Russell is
OF so rare a quality as TO all but elIde
representation in the much thumbed,
and often heedlessly thumbed coins u
the critical vocabulary. Actresses there
are who surround the characters they
assume with the atmosphere Of a land
that none Of US has known, but I'll OF
us have dreamed, who suffuse it with the
light that never was on land or sea.
They may be said TO be endowed with
poetic temperament. They make us be-
lieve in the lion-haunted Forest Of Ar
den. in the Italy OF impossible Inedi-
eval romance. Miss MarlOwe's idyllic
passion has poetic temperament and so
has Sarah Bernhardt's dramatic fire. so
has the UNFRAMED garden of Ellen Ter
rvs womanly personality. There are
other actresses who make us feel as we
feel about people whose street and num-
Der we find in our address books. and
who may be said 10 possess real individ-
uality. Miss Maude Adams address is
In a vital and humor-loving American
town. and Mrs. Patrick CampbelTs ad-
dress-in spite of the evident infusion
OF Latin blood. and of her assumption
OF the other-world women of Maetsr-
linck-is in the British metropolis. Miss
RusselTs name is undoubtedly in the
social register. but il is in the social
register of a land that is known and
felt only by those who are at home
where reality is utterly gracious. Her
quality is poetic individuality. 1t was
In a moment Of inspiration that some
English critic called her the American
Duse.
Individual and poetic as her acting is
ii Is none the less intelligently calcu-
lated The true artist knows that next
to the voice no resource OF the actor is
more potent than the face. Joseph JET
ferson, who has written Of acting with
a clarity and wisdom never surpassed,
has much TO say in his autobiography
OF how a dramatic moment is often i'm
paired or ruined by unnecessary gesture
In note he once wrote on Booth for
the Encyclopedia Britannica, he re-
lated how in response TO a question he
taxed the great tragedian with obscur-
ing with action what was passing in his
face and Booth admitted the Justice of
the friendly structure. Now. as Il hap
pened, in rehearsing this moment in
| The Royal Family Miss RusselI's
manager told her that on recognizing the
prince she must rush forward with a
cry. Miss Russell argued for the mo-
| tionless recognition. carried her point,
and made OF the incident the great tri-
umph OF the play, and perhaps OF her
career
Certain limits there are 20 her good
sense. II is said that size Is tired of al
ways playing what in the bald cant of
the theater is called the ingenue. With
a peTversity not without example she
wants to CmbOdy the strident emotions.
! Some years ago. she put on a play for
a matinee I'm which she took the part of
a flaming. bold adventures. II was
perhaps a similar wish that made her
The Washington times., 1904-08-07
Discussing Remedies.
England Is Very Much vexed Over Con-
dition of the Drama.

The state Of the drama In England
has led to the discussion of many plans
for remedying evils that have resulted
from the conditions that now prevail.
In these discussions all sorts of per
sons have taken part. from dramatists
and managers TO playgoers, critics and
the large tribe OF those who rush into
print on any pretext
The English Illustrated Magazine"
recently addressed TO prominent actors
authors and critics-including many on
the Continent as well as the English
the following questions:
% What would be the most practical
and effective means of giving a new i'm
petus 10 the drama?
% Would the institution Of a state
aided theater and Conservative he
beneficial or detrimental 10 dramatic
art?
90 Would the reform or the abolition
Of the censorship Of plays advance the
interests Of the drama?
The responses to these questions are
coming in gradually and are being pub
lished serially. As is usual in such
symposiums, most OF them present the
personal viewpoint rather than authori-
tative suggestion. For instance, Hall
eeAAtN - fAEetAAAs'N fAlAg bAAoAAAt dEslHAhilLt
to the drama, and takes a thoroughly
commercial view OF the question
Edmund Gosse also believes that the
theater should have no "fortuitous
aids" Sydney Grundy somewhat cyni-
cally rebukes the effort for information
by saying that the most practical and
effective means OF giving a new impetus
20 the drama would be for every news
paper and magazine, club and debst-
ing society and after dinner orator.
The actor-managers who have re-
sponded TO the questions believe in
state aid with remarkable and sugges-
tive unanimity, and Mr.. Bourchier ad-
vocates a supported conservatoire that
should have n single head
The more interesting replies TO the
questions come from Continental writ
ers, who have object lessons In state
aided theaters. Alfred Capus admits
that neither state encouragement nor
private enterprise can create talent. but
believes that both can furnish an atmOs-
phere favorable 10 the birth and devel-
opment Of talent. Jules Claretie believes
that the most practical means for the
encouragement Of dramatic art is 70
devote money 10 the foundation OF thea
tiers, 70 give advice and encouragement
to comedians, and TO give authors the
The Washington times., 1904-08-07

appear last season as demimondalne IN
an Intellectual adaptation of Henri Bern
STEMS painful and, in fact revolving,
piece of Dumas-Ibsenis lie Detour -
to the vast surprise and horror of the
clientele she has built up in sweeter and
wholesomer plays. Even the Italian Duse
falls short Of the flaming rhetoric, the
intense dramatic passions Of Francesca
da RImini. Should not a word TO the
American Duse be sufficient?
There is, however, very real haru-
ship in Miss Russelrs case. 1t is the
curse of our American theatrical sys-
TEN that a play must appeal to the
great public; and to the great public
an ingenue is an ingenue, and there
an end of il. The fact is. that there are
few plays of any century or I'm any
language which give scope 10 Miss
Russelrs peculiar blending of reality
and poetic charm. Among the Shake
spearean heroines only Viola combines
her vein of poignant, sad emotion with
subtle, arch and persuasive charm But
would not her note of reality, even mod
ernity, be out of the composition Of that
romantic. impossibly delicious story?
The heroines Of Alfred de Musset seem
made for her. in all respects but one.
Real. poignant and poetic as they are
they are all tinged with the fancy-slck-
ness OF the Partisan amorist, and might
prove repugnant both to Miss Russell
and to her public. But the objection
at worst could only slightly diminish
the pleasure of seeing her in Les Ca
prices de Marianne or II ne faut
pas badiner avec TAmour.' Like many
another actress. Miss Russell has not
reached, and perhaps will never reach
the fuIlness Of development that is in
the power Of artists in countries where
the drama Is cultivated for itself. ire
spective of financial considerations. II
is to be feared that only as the mem
Der of a subvcntioned repertory com
pany could she expand to the fun stat
ure Of her possibilities.
The Washington times., 1904-08-07

Netherlands Royal Opera. Amsterdam:
Hanna Mara, OF the stadt Theatcr.
Rreslau: Johannes Bischon. Of the Staat
Theater. Cologne; Putnam Griswcld, OF
the Frankfort Opera House. Franz
Egenien. Of the Theater des Westerns;
Florence wickham. Of the Royal Con-
scrvatory OF Music. Francis MacCIen-
nan, OF the Moody-Manners opera
&C mpany. and the two conductors. Wal
ter n. R0thwell and MOritz Grimm
Madame Kirby LUnn. who has just
closed her season at the Royal Opera.
Covent Garden. in London. has been
detained In England by important con-
cert enga gements. but she VIII join her
colleagues at Bayreuth in time TO hear
the last two performances Of Par
sifal"
J. Francis Sullivan will play Francois.
the funny French hotel keeper In The
Prince Of Pilsen" company that will
tour the United States.
A NJ. Palmer's all-star cast revival OF
The Two Orphons' will open its sea-
son at the Colonial Theater in Boston
September u
Edward Terry and the entire COM
pany from the Strand Theater. London,
VIII visit America next season. opening
on January in New York. The House
of Burnside" Will be the attraction.
Maurice Canpbells company that is
to present George c. HazeIton's play
Of Edgar Allan Poe called The Raven
will begin rehearsals next month. and
will open September 10. The part of
Poe will be played by Frederick Lewis,
who recently made a success in
Ghosts" at the Manhattan Theater
once again has the proud American
girl abroad bounded 70 the front and
ecIipsed all records. 4 few weeks ago
LondOners were lost in admiration at
the bulk Of Mile Cleo de Microbes anna
tory correspondence Now Camille Cliff
ford. who is playing the New York girl
in Henry w. Savage's Prince OF Pill
SEN company at the Shaftesbury Thea
ter. according TO the London papers.
has caused Mile. Merode to take back
seat Mile Merode receives love let
tiers by the hundred weight. but Miss
Clifford has them by the ton" said the
London Dispatch" This popular
American girl, who is the prototype OF
the Gibson girl. IS undoubtedly the rec
ord receiver Of biIlets-doux. She has
letters from admirers in Europe. Amer
ica, Australia, and South Africa.
The cast of KIaw & Erlangcr's produc-
tion of "Ben-Hur." which will open its
season IN Milwaukee September 3. viii
include Alphonse Either, James J.
Ryan. Robert McWade, jr., Harry
Weaver. Charles Riegel. Charles Can
field William Averell Frederick SeateS,
Augustine AIcHugh. Leopold Lane. Wall
ter Markham, Thomas J. Treacy. George
Wilkes Rose ]. Anthem. Ellen Mortimer.
May Burgess, Stella Boniface Weaver,
and Zaidee Appleton
The Washington times., 1904-08-07

wherewlthal to produce their plays. An
opposing view is taken by Felix Duques'
mai. who denies that state-aided theaters
are useful. although he does not think
they are detrimental. Augustin Filon,
who is both author and critic, and who
has more knowledge as to conditions
outside OF France than the average
French writer. believes that subsidized
theater. II fully endowed and properly
managed. would render signal service in
freeing the English stage from the grip
of the actor-manager and the sordld
commercialism that makes long runs
necessary.
Among other expressions, those or
Bjornstjerne Bjornson and Heijermanns,
author OF The Good Hope" are worthy
of note. The former is in favor OF
state-alded theater and a reform of the
censorship Of plays. The latter believes
that the excessive devotion and atten-
ton OF the English to sport has killed
all inspiration for and appreciation Of
the intellectual drama. One OF the
remedies he suggests is the reduction OF
prices for seats at the theater. As TO
state aid, he thinks IL is harmful. as 1t
protects easy and timid art" He holds
that wherever the state endows drama
~art loses its enthusiasm, its youth its
revolutionary ideas. And evolution and
revolution are as necessary to humanity
as the spring 10 nature"
More good than harm results from dis
cussion of any subject, for agitation is a
sign Of life and a desire for something
better. The theater in past generations
has had its PEI iods Of failure and de-
moralization but at no other period
than this could Its faults and condi-
tion have been so serious. for never be-
fore has It held so great a place in life
IN the older times its retrOgressiOns and
stagnations were comparatively Of less
concern. for then It was a less com
pick institution and civilization Itself
was more crude and simple. The com
mercialism that distinguishes the the
alter now, and that binders its best de-
velopment is simply reflection OF the
commerciaiism that dominates every
thing The theater Il in a period OF
transition. as other human institutions
are in an age of greed. unrest, and e.
centricity. II shifts under the toucl.
of the money making hand to cater II
eyer changing and abnormal appetites
and fancies. But Il is sound at the core
as human nature itself Island sooner
! or later It will manifest itself soundly
in response to the sanity that must
overtake all things that now are ds-
| turbed and acknowledgements Mirror
The Washington times., 1904-08-07
Clement Scott.
Something About the Peculiarities Of
the London Critic.

In the various accounts In the London
newspapers of the late Clement Sc)t,'s
career as a dramatic critic it is COM
monty admitted that his judgment was
swayed more by mis- emotions and his
prejudices than formed by calm, Impair
tial analysis
He was a bit old-fashioned in his ideas
and while ne was a power on the Lon
don Telegraph he never adjusted mis-
early standards TO accord with the revo-
Iut!onary theatrical tendencies 9f the
new generation.
The picturesque. the romantic, and the
Theatre appealed to him. and he never
admitted that the stage was place Tor
the exposition of the realities and the
serious problems OF life. Ibsen he hated
with an honest hatred. He had no pa
tience with acting that was not create
by or formed upon the disappearing
models OF the past. Repression meant
nothing 10 him. He was as vigorous IN
his censure as he was enthusiastic in
his praise He regarded the acting Of as
much Importance as the play.
Mr. Baughan. IN the London Daily
News summed UP Mr.. ScOtts attitude
in contrast with that of critics of more
modern views and sympathies as Icl-
lows:
The new criticism is, no doubt. a re-
action from the old. and the pendulum
has swung too far in the opposite direc-
ton. The modern tendency to judge a
play from its truth to life was required
Down TO the early eighties the theater
was the theater; no one dreamed, least
Of all Clement Scott, Of a drama that
would have life as its basis. We have
not gone very far on the new road. to
be sure, but we have progressed But
our school Of acting has not advanced
with our drama. The critics do not en-
courage 1t to advance. The cleverest OF
them. the men who have done so much
to place drama on a higher plane, are
destructive critics as far as acting is
concerned. The best of them might
learn something from the late Clement
Scott in this respect. They might learn
to sympathize with the theater. and es-
pecially with the actors art. It is all
very well to demand truth of drama 20
life. but the actor has also TO be consid-
cred. That truth cannot, be expressed
without the art OF the actor and al
present he is treated as If he were an
encumbrance. Clement SCOTS best
work was done in what may be called
constructive criticism Of the art of act
ing. And his influence vas great be
cause his sympathies were wildly with
the theater. Also he had the power OF
! feeling. Drama was not form Of logic
with him, nor should IL be with anyone
| The weakness as well as the strength
Of his criticism was that he suffered
! from an excess of emotiOnalism, just as
more modern critics have suffered from
/ too little. He brought something OF a
poets temperament to the task OF criti-
cism. The stage was never to him a
! platform for the logical dissection of the
character; he had a natural adherence
Of the drama as a psychological elm
] ique. That he carried his rhetorical pro
| testation1 against what he considered
were the morbid tendencies or the DAY
| to the extreme of absurdity does not in.
| validate his esthetic position. IL wa.
merely al Overstatement Of his case
The Washington times., 1904-08-07

but demanding the expenditure Of so
much money in this special instance has
the look Of being rather beyond the
line of absolute necessity.
The rumor committee has been quite
busy Of late with the affairs of Lillian
Russell i'm the matter Of making engage
ments for her professional future One
member of the committee had insisted,
In the face Of repeated denials. that
Miss Russell is under contract to the
fraternaI Shuberts. Miss Russell says
this Is not the fact, and so do the Shu-
I bert Brothers, but the committeeman
knows better. Another dispenser Of in
side information recently gave Miss
Russell TO Lew Fields. took her away
from him, and presented her to Joe
Weber. Still another members OF the
fraternity arose 20 observe that these
reports were all nonsense, and that Miss
Russell would organize her own opera
company, backed by her own capital
and see If she couldn't make for herself
some of the money she had so long
and successfully made for others. Miss
Russell assured me a day or so ago
over the telephone of her distinct i'm
preston that she had made no plans Of
my sort. I've had numerous PROPOSE
tons OF various kinds and from varl-
Gus sources she went on, but as vet
have given no one an answer nor
| have l devoted any considerable time
/ TO considering the matters presented.
in fact, you may speak of me as heart
whole and fancy free and bound by not
so much as a general understanding for
| the coming season"
Richard Golden has new rural play
| by hitherto unknown author, and Il
| mas been accepted for production by
| Henry w. Savage Golden himself has
/ done some little work upon the manu-
script. where the ineXpericnce OF the au-
/ thor was manifest, but will claim none
of the honors Of collaboration. I'm go
ing TO be an actor. not a dramatist." OBJ
| serves the comedian
The Washington times., 1904-08-07

London are heard from the other side.
probably brought about by the efforts
Of several London managers to bring
Miss Crosman TO the British capital,
but as yet a London engagement has
not been definitely settled by Mr.. Be
lasco and Mr.. Campbell.
Henrietta Crosman. with Maurice
Campbell. her husband. has gone on a
canoe trip Of go miles through Maine
lakes and the Allagash River. 1t is
proposed to spend at least three weeks
In the woods. padding and fishing dur
ing the day and pitching tent at night.
The successful drama. "In Old Ken
lucky" which has been played year
after year In the United States since
1892 Will begin its season IN the North
west shortly After playing its annual
fall engagements in Milwaukee. St
Paul and Minneapolis. 1t will make an
other tour through the South and
Southwest, working back to Chicago in
time for the Christmas holidays, when
IL will be seen at McVicker's Theater.
The scenes OF George AIDES new COM
edv. The College Widow" which HSn-
ry w Savage viii produce at the Car
den Theater. New York. September D.
are laid in an inland college town. In
order 10 get ideas for painting the seen
cry Walter Burridge. general scenic ar
fist for Mr.. Savage. sent an assistant TO
New Haven last week 10 sketch some OF
the buildings Of Yale University. The
assistant returned to New York and ex-
libited his sketches 10 Mr.. BurridBe.
Where did you see that building?
sked BurrIdge.
AT Yale University" was the reply.
You saw that building ia New Hav-
bat not al the college" said the gen.
scenic artist. Il advise you to re-
. >7ew Haven quick. Thl- build
e sketched is the general Of
New York, New Haven, and
.ailroad-"
TIN. formerly with the Bos-
TIE Toreador," has been
sing the role OF Leopold in
zee Consul" the comic opera
Raymond Hitchcock is star
.e r Myers wlio succeeded Alice
"The Fortune Teller and
as, has been engaged to sing
II Lutte Plummer in George
ygy from Paris
Nichols Will be a new mem
he Sultan Of Sulu" company
n. She has signed a contract
y W. Savage TO sing the role
a IN the George AIDE musical
lss Nichols is Greek and was
Athens. Her name in private
len Catechakes.
Ring. a sister OF Blanche
been engaged by Henry w.
Or the role of Lucy Rigby in
I'm County Chairman com
ich opens the season at Wal
.ptember / This will be the
lge in the cast OF the company
yed 259 consecutive perform
Wallack's last season.
ncipal singers enga ged by Henry
ge for his production OF Par
l English have gone to Bay
attend the performances OF
festival play that will be given
81 and August ). Z, s. II. and %.
includes Alois Pennarini. the
tenor of the Stadt Theater, in
g; Christian de Vose. of the
The Washington times., 1904-08-07
Academy.
Opening Will Occur Next Week With
Lighthouse by the Sea"

The Academy will open the season Of
1919 on August Is with the sensational
melodrama Lighthouse by the Sea"
Since the close of the stock company.
the house has been in the hands of the
painters and decorators, and patrons of
this popular playhouse will hardly know
IL in its new dress. Jolly Nellie Nc
Henry as M Liss" will hold the boards
week Of August p and following these
two attractions Of known merit will
come number Of the best plays of the
popular price circuit. The sale Of seats
Will open next Thursday morning at 3
q. clock
The Washington times., 1904-08-07

unual drain on her unusHai vitality. SO
1t is no small tribute 70 her pluck and
energy that. despite the orders Of her
physicians and the wishes OF Mr. Bel
ascO, she insisted on making n thorough
tour Of the United States this season.
as a farewell to her greatest triumph
before setting Il aside for her new play
The Washington times., 1904-08-07
Notes Of the

All Of c. B. Diliingha
viii open early. the date OeIng
lows: Frank Daniels. in 81. Ii
August 81; FRITZ Scheff, in Cl
on August g; Maxine Elliott, in
cinity Of New York. on Septer
Lulu CHASER. in Rochester, on
Der l. Louis Mann will Try
piece for a couple OF weeks
provinces" before his Boston .
on October 3.
The Washington times., 1904-08-07
AMUSEMENT
LsWa FETE

St. Anthonys Church. ]
G. continued through W
Take @ st. car. marked
Ride to end OF route. Gene
10c. Season ticket. &c. :
Dancing. music, etc.