The St. Louis Republic. [volume] (St. Louis, Mo.) 1888-1919, 1904-02-07

with the chateau illuminated for an I'M
perial fete in the background.
The third act. first scene, represents the
interior of the Grand Opera-house. Paris,
during a masque ball, with a dance by
the opera ballet.
The second scene shows the return from
Elba with the Emperor and his staff on
horseback at the head of a battalion of
Grenadier Guards.
Lulu Chaser is the possessor of a mys-
FERROUS finger ring. which she wears every
night in Dolly Narden." The ring is
made of gold. and in it is set a large
and peculiar stone. 1t has been shown to
many jewellers. both in America and ErI-
OPP but none of them so far have been
able to determine what it is OF to give 1t
a name. Miss Chaser became possessed
OF this article of adornment in a most pc
culiar manner. 1t all came about on her
first trip to the Pacific Coast, and hap
pened in this wise:
While in Omaha she noticed one even
ing that a rather distinguished looking
man sat in the parquet, and during the
whole of the performance his eyes were
riveted on her with a fixed stare. He
never stopped looking at her during the
whole night. and this unexpected and IN
welcome attention greatly annoyed the
prima donna.
She thought to herself that the man
must be evidently trying to make a con-
quest. After leaving omaha the company
went to Denver. and on the opening night
tneTe was tue DOlu aufnlTer again, SlttilS
well in front. and gazing at her with the
same icy glare. In Salt lake City the
same thing was repeated. and when the
company reached San Francisco Miss
CHASER was in a highly nervous state over
the mysterious stranger who acted SO
queerly.
The opening night came. and again was
he present in his accustomed place. Dur
ing the whole of that evening he never
took his CLASSY eyes off the comedienne.
Miss Chaser by this time was almost
-AaI,- 20 all-y- .al -,,-L -
trying 10 see if something could not he
done TO prevent his further attendance at
the theater.
The next morning she received a letter
and the aforementioned ring. The letter
said that the writer was Il Hungarian no.
hleman. who was making a trip around
the world: that chance had thrown him
in the same towns in which the company
had been playing: that he wished to thank
Miss CHASER for the pleasant evenings he
had passed listening TO her. He could do
no more than listen. as he was totally
blind. but he felt that she must be as
beautiful as her voice Was sweet. and he
for China. that she would accept the lit
tie souvenir as Il token of his apprecia-
ton. An unpronounceable name was
signed TO the communication
The trinkct is one of Miss GlaSer'S most
cherished possessions. She wears it on
the stage at every performance.
To the present generation the career Of |
Sir Henry Irving has been picturesquely
successful.
With the prominent actor, his disap-
pointnlents and backsets, whether in the
present or the past. are thought little Of.
no matter WAT may be their Importance |
to him.
Henry Irving's efforts to have 1.-THE
Bells produced, strange as Il may seem
nowadays. were most trying to him,
In 1870 he had advanced his reputation
as a comedian to its highest point by his
performance of Digby Grant in The Two
Roses at the Vaudeville Theater.
1t was Turing the run of the play that
ne obtained possession of The Bells and
suficlcnt to make him anxious to play the
part of Matthias. But how could this hope
pc realized? Tho poetic drama was not in
fashion, and no manager. it was to oe
feared, would incur the risk of producing
a piece of that class.
BY way OF testing the feeling of the
occaso of his benefit al the Vaudeville,
etiiec The. Dream. OF Eug, ne Aram,"
and the result was to show that the essay
he contemplated might be made with some
probability of success.
In the autumn of 1871 he gave up his
engagement at the popular Vaudeville for
hope of inducing the manager, MIR. Bate
man TO bring out The Bells" For some |
time a cloud seemed to rest upon the
ho' Sc.
"Fanchette." the managers trump card.
failed; "Piokwick.', though strongly cast.
shared shared r the same Fat. fate MI; Bateman then
piece was produced on Saturday. Novem-
Der %, and had it not succeeded the Ly-
ceum would soon have been closed.
Expectation did not run very high. for
THE Polish Jew" had been brought out
al one of the minor theaters with any
thing but the desired result, and it was
not supposed that even SO versatile an
actor as Henry Irving could meet the re-
quiren,ents Of the last act.
Those who make it a point Of being
prese mt at important first nights, but saw
no adequate irducement on this occasion
to go To the %tceater. were soon angry with
themselves for their want of faith.
So powerful an i~mpersonatfon had not
been seen on the London stage since the !
days Of Macready and Charles Kean.
|
Sothern's impersonation of King Robert
of Sicily in Justin Huntly McCarthy's
play. The Proud Prince revives interest |
IN Longfellow's poem. from which Nc
Carthy drew the inspiration Of his play.