The Washington times. [volume] (Washington [D.C.]) 1902-1939, 1904-10-23

persevering summons OF the house, /
was desired by Fawcett 10 90 before
the curtain; and accordingly I an
nounced the tragedy for repetition amid
the graduating shouts that carried the
assurance OF complete success to my
agitated and grateful heart
Notwithstanding this Macready heart
lily disapprOved OF the call consider
ing that it disturbed the representa-
tion- Twenty-six years later when per
forming Werner at Manchester he
wrote in his diary: Acted very fairly.
Called for. Trash The year before ne
acted 'Virginius at Paris. when ne
wrote IN his diary: Acted with much
energy and power TO a very excited au-
dience. 7 was loudly called for at the
end OF the fourth act, but could not or
would not make so absurd sacrifice TO
my poor art" In 1S47 he wrote. acted
King Lear with much care and power
ard was received with a most kind and
sympathetic and enthusiastic audience
/ was called on, the audience tried 10
make me come on after the first act,
but of course 1 could not think OF such
a thing.
Audience Not Disturbed.
II viii be noted that these calls relate
TO the conclusion Of an act, when the
atrical illusions are suspended That
the actor was conscientious in his stand
cannot be gainsayed, and is. indeed, a
strong argument against the custom.
Albeit other performers, even greater
artists than was Aacready, thought
otherwise. They have not been able %
discover anything inimicaI TO stage de-
fusion in their appearing in the capacity
simply as histrion. TO be congratulated
arrT Fre.H- So
too. that in asking the actor 10 step
out OF the picture auditors have not
found that they diminish their own en-
ioyment, and were reminded OF the I'M
reality Of that which they have seen in
the play.
1t requires no great cali upon the i'm
agiuaUiOu 20 discover what such an ar
tist Macready would have thought OF
calls in the course OF a scene, or during
the action of the play Such calls.
scene" calls, TO speak technically are
''imbecile compliments, as they have
been called, are wholly reprehensible,
and canont be too severely deprecated
The habit at one time grew 10 such
pitch at Dresden that the MANAGER OF
the Theatre Royale was constrained TO
forbid the performers TO accept calls be-
fore the termination OF an act. al the
same time respectfully requesting the
audience 10 abstain from such demands
in the future. giving as a reason that
the practice interrupted the progress
OF the action on the stage
Recalls Which Are AbsuTdities.
The absurdity of summoning back
Ophelia, af-ey tripping of insane 20 ind
a watery grave, TO acknowledge "suavc-
~ and by smiles and courtesies" the
A.
ent TO call for argument The injury
TO the poets dveam," TO say nothing
Of the perpIexit,r of King CIaudius,
Queen Gertrude ana Iaertess while this
extra scene IS being enacted IS too much
10 expect The folly OF calling Romeo
and jules LEX 30 life before the ringing
down OF tire curtain savers OF burIesque.
and as being entirely without the pale
Of serious drama. Ia such a case as
this enthusiasm becomes, 10 put DC
mildly, an iEtolerable nuisance.
Some years Cgo at the Gaiety Theater.
London. when la Joie Fait PeUr" was
presented. NJ. Got, who played Noel
was called when the pathetic interest
of the piece was very nigh" The actor
at 6rst refused % obey the summons.
but as the applause became more urgent
he came TO the door as though his mis-
tress had called him, bowed and entered
into a brief conversation with her, and
went of without looking at the audi
ence. This silent and forceful rebuke''
was as artistic as the unreasonable de-
maud of the audience was absurd.
But a cali at the completion of an
act or at the conclusion of the play is
a vastly different affair than the demand
on the part OF an audience that the ac-